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Scanned  from  the  collection  of 
Karl  Thiede 


Coordinated  by  the 

Media  History  Digital  Library 

www.mediahistoryproject.org 


Funded  by  an  anonymous  donation 
in  memory  of  Carolyn  Hauer 


Digitized  by  the  Internet  Archive 

in  2011  with  funding  from 

Media  History  Digital  Library 


http://www.archive.org/details/photoplayvolume22425chic 


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GOODRICH  QUALITY  IS  MAINTAINED  IN  EVERY  SILVERTOWN  TIRE— NO  TWO  GRADES— NO  SEVERAL  BRANDS 


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Photoplay  Magazine — Advertising  Section 


Sunburn,  tan,  freckles 

—  do  they  rob  your  complexion 
of  its  fresh,  wholesome  charm? 


DO  you  feel  a  summer-long  dread  of  hot  sun 
and  dusty  wind?    Do  you  avoid  out-of- 
door  sports  because  your  complexion  suffers? 

There  is  no  need  of  it.  You  can  guard  your 
skin  against  the  burning  rays  of  the  sun.  You 
can  protect  it  from  the  coarsening  effects  of 
hot,  dusty  winds  if  you  adopt  the  regular  use 
of  Ingram's  Milkweed  Cream. 

Ingram's  Milkweed  Cream,  you  will  find,  is 
more  than  a  face  cream.  Not  only  does  it  pro- 
tect the  skin — it  keeps  the  complexion  fresh 
and  clear,  for  Ingram's  Milkweed  Cream  has 
an  exclusive  therapeutic  property  that  actually 
"tones-up,"  revitalizes,  the  sluggish  tissues  of 
the  skin. 

If  you  have  not  tried  Ingram's  Milkweed 
Cream,  begin  its  use  at  once.  It  will  soon  soothe 
away  old  traces  of  redness  and  roughness,  banish 
slight  imperfections.  Its  continued  use  will 
preserve  your  fair,  wholesome  complexion 
through  a  long  summer  of  outdoor  activities. 

Go  to  your  druggist  today  and  purchase  a  jar 
of  Ingram's  Milkweed  Cream  in  the  50c  package 
or  the  standard  $1.00  size.  (The  dollar  jar  con- 
tains three  times  the  quantity.)  Use  it  faith- 
fully, according  to  directions  in  the  Health  Hint 
booklet  enclosed  in  the  carton — keep  the  charm 
of  a  fresh,  fair  complexion  through  the  trying 
heat  of  summer. 


IngtimVs 

Milkweed 


?few  it 

BtMty 


Jar' 


Cream 


Frederick  F.  Ingram  Company 

Established  1885 
102  Tenth  Street  Detroit,  Michigan 

Canadian  residents  address  F.  F.  Ingram  Company, 
Windsor,  Ontario.  British  residents  address  Sangers, 
42A  Hampstead  Rd.,  London,  N.  W.  1. 

Australian  residents  address  Law,  Binns  &  Co.,  Com- 
merce House,  Melbourne. 

New  Zealand  residents  address  Hart,  Pennington,  Ltd., 
33  Ghuznee  Street,  Wellington. 

Cuban  residents  address  Espino  &  Co.,  Zulueta  36  Vi. 
Havana. 


Posed  by  Claire  Windsor,  star  of  "The  Little  Church  Around 
the  Corner,"  a  Warner  Bros,  motion  picture.  Miss  Windsor, 
like  many  other  beautiful  women  of  the  screen,  uses  and  endorses 
Ingram's  Milkweed  Cream  for  promoting  beauty  of  complexion. 
From  a  photograph  by  Clarke  Irvine. 


Ingram's 
S&ouge 

"Just  to  show  the  proper 
glow"  use  a  touch  of  Ingram's 
Rouge  on  the  cheeks.  A  safe 
preparation  for  delicately  em- 
phasizing the  natural  color. 
Offered  in  thin,  artistic  metal 
vanity-box,  with  large  mirror 
and  pad.  Five  perfect  shades, 
subtly  perfumed  —  Light, 
Rose,  Medium,  Dark  or  the 
newest  popular  tint,  Ameri- 
can Blush — 50c. 


The  new  Ingram's  Rouge 
packet  measures  \7/g  inches  in 
diameter  and  V2  inch  in 
height.  It  is  convenient  to 
use  and  convenient  to  carry. 
Does  not  bulge  the  purse. 


Send  a  dime  for  Ingram's  Beauty  Purse — An  attractive  souvenir 
packet  of  the  exquisite  Ingram  Toilet-Aids.  Mail  the  coupon  below 
with  a  silver  dime  and  receive  this  dainty  Beauty  Purse  for  your 
hand  bag. 


Frederick  F.  Ingram  Co.,  102  Tenth  St.,  Detroit,  Michigan 

Gentlemen:  Enclosed  find  one  dime.  Please  send  me  Ingram's  Beauty 
Purse  containing  an  eiderdown  powder  pad,  samples  of  Ingram's  Face  Powder. 
Ingram's  Rouge,  Ingram's  Milkweed  Cream,  and  for  the  gentleman  of  the 
house,  a  sample  of  Ingram's  Therapeutic  Shaving  Cream. 


Name 


Street 


City 


State 


When  you  vvtlte  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


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Stars,   Directors 
&.  Featured  Players 

in 
Paramount  Pictures 

Alphabetically  listed 

Robert  Agnew 
Mary  Astor 
Agnes  Ayres 
Alice  Brady 
Herbert  Brenon 
Betty  Compson 
Ricardo  Cortcz 
James  Cruze 
Dorothy  Dalton 
Bebe  Daniels 
Cecil  B.  DeMilic 
Wm.  C.  deMille 
Elliot  Dexter 
Charles  de  Roche 
Richard  Dix 
Allan  Dwan 
George  Fawcett 
Elsie  Ferguson 
George  Fitzmauricc 
Victor  Fleming 
Alfred  E.  Green 


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The  Independent  Artists 
of  the  Screen 


\, 


MOST  of  the  great  artists 
of  the  world  have  wished 
to  be  relieved  of  business 
worries. 

They  excelled  through 
single-minded  devotion  to 
their  art. 

In  the  art  of  the  screen 
Paramount  has  provided  this 
ideal  creative  condition, 
thereby  reaping  the  reward  of 
leadership. 

Directors,  stars,  players 
and  master-technicians,  are 
extremely  appreciative  of  the 
freedom  from  all  worry  of 
finance  and  organization 
which  Paramount  gives  them. 


They  have  choice  of  the 
richest  material  of  story,  per- 
sonnel and  equipment.  Liter- 
ally nothing  is  asked  of  them 
except  that  they  give  their 
best. 

And  back  of  it  all  is  the 
intoxicating  thought  and 
stimulus  that  thousands  of 
audiences  are  ready  for  and 
expectant  of  the  Paramount 
Pictures  they  will  make. 

This  is  the  virtue  of  making 
to  an  ideal  rather  than  to  a 
fixed  cost — and  these  are  the 
real  independents. 

"  //  its  a  Paramount  Picture, 
it's  the  best  show  in  town. 


[continued] 

Sigrid  Holmquist 
Joseph  Henabery 
Walter  Hiers 
Jack  Holt 
Glenn  Hunter 
Leatrice  Joy 
Theodore  Kosloff 
Lila  Lee 

Jacqueline  Logan 
Charles  Maignc 
Thomas  Mcighan 
George  Mel  ford 
Antonio  Moreno 
Nita  Naldi 
Pola  Negri 
David  Powell 
Theodore  Roberts 
Wesley  Ruggles 
Lewis  Stone 
Jerome  Storm 
Gloria  Swanson 
Rob  Wagner 
Irvin  Willat 
Lois  Wilson 
Sam  Wood 


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Every  advertisement  In  PHOTOPLAY  MAGAZINE  is  guaranteed. 


The  World's  Leading  Motion  Picture  Publication 


PHOTOPLAY  MAGAZINE 


FREDERICK  JAMES  SMITH 
MANAGING  EDITOR 


JAMES  R.  QUIRK,  Editor 


ADELA  ROGERS  ST.  JOHNS 
WESTERN  EDITOR 


Vol.  XXIV 


No.  2 


Contents 

July,  1923 


Cover  Design 

From  a  Pastel  Portrait  by  J.  Knowles  Hare 

Brickbats  and  Bouquets 
Letters  from  Readers 

Brief  Reviews  of  Current  Pictures 
In  Tabloid  Form  for  Ready  Reference 


Pauline  Garon 
8 


Friendly  Advice 

The  Department  of  Personal  Service 


Carolyn  Van  Wyck 


Rotogravure: 

New  Pictures :  Ramon  Novarro,  Bebe  Daniels,  Madge 
Bellamy,  J.  Warren  Kerrigan,  House  Peters,  Patsy 
Ruth  Miller,  Gloria  Swanson 


Speaking  of  Pictures  (Editorials) 


James  R.  Quirk 


Pickford's  New  Picture  (Photographs) 

Showing  Her  as  "Rosita"  in  "The  Street  Singer" 

Odd  Folks  of  Hollywood  Helen  Carlisle 

They  Bring  Realism  to  the  Screen 

The  House  of  "Kiki"  (Photographs) 

Lenore  Ulrich's  Home  Is  a  Place  to  Dream  About 

How  Lloyd  Made  "Safety  Last"    Adela  Rogers  St.  Johns 

On  the  Boulevard  (Photographs) 

You  May  Have  the  Same  Luck  That  the  Cameras  Did 

Photography  by  Stagg  and  Russell  Ball 


11 

12 
19 

27 
28 

29 

32 

33 
34 


Herbert  Howe    37 


The  Man  Who  Gets  What  He  Wants 
None  Other  Than  Tommie  Meighan 

(Contents  continued  on  next  page) 


Published  monthly  by  the  Photoplay  Publishing  Co. 

Publishing  Office,  750  N.  Michigan  Ave.,  Chicago,  111. 
Editorial  Offices,  221  W.  57th  St.,  New  York  City 

The  International  News  Company,  Ltd.,  Distributing  Agents,  5  Bream's  Building,  London,  England 

Edwin  M.  Colvin,  Pres.  James  R.  Quirk,  Vice-Pres.  R.  M.  Eastman,  Sec.-Treas. 

Yearly  Subscription:  $2.50  in  the  United  States,  its  dependencies,  Mexico  and  Cuba; 

$3.00  Canada;  $3.50  to  foreign  countries.  Remittances  should  be  made  by  check,  or  posta 

or  express  money  order.    Caution — Do  not  subscribe  through  persons  unknown  to  you. 

Entered  as  second-class  matter  April  24,  1912.  at  the  Postoffice  at  Chicago,  III.,  under  the  Act  of  March  3,  1879. 


Photoplays  Reviewed 

in  the  Shadow  Stage 

This  Issue 

Save  this  magazine  —  refer  to 
the  criticisms  before  you  pick  out 
your  evening's  entertainment. 
Make  this  your  reference  list. 

Page  6S 

The  Rustle  of  Silk Paramount 

Within  the  Law First  National 

The  Bright  Shawl First  National 

Page  6o 

The  Girl  I  Loved United 

The  Ne'er-Do-Well Paramount 

The  Abysmal  Brute Universal 

Page  jo 

You  Can't  Fool  Your  Wife.  Paramount 

Prodigal  Daughters Paramount 

Sixty  Cents  an  Hour Paramount 

The  Go-Getter Paramount 

The  Nth  Commandment 

Paramount-Cosmopolitan 

Tritling  with  Honor Universal 

Page  7 1 

Ba  vu Universal 

West  Bound  Limited 

Film  Booking  Offices 
The  Girl  Who  Came  Back .  Al  Lichtman 
Vengeance  of  the  Deep 

American  Releasing 

A  Noise  in  Newboro Metro 

Cordelia  the  Magnificent Metro 

Page  ioi 

The  Affairs  of  Lady  Hamilton 

Hodkinson 

Dead  Game Universal 

The  Prodigal  Son ...  Stoll  Film  Corp. 

Soul  of  the  Beast Metro 

What  Wives  Want Universal 

Trailing  African  Wild  Animals.  .Metro 

The  Critical  Age Hodkins on 

Temptation C.  B.  C.  Film  Sales 

Page  102 

Fools  and  Riches Universal 

Double  Dealing Universal 

Madness  of  Youth Fox 

An  Old  Sweetheart  of  Mine Metro 

Her  Fatal  Millions Metro 

The  Remittance  Woman 

Film  Booking  Offices 

Crossed  Wires Universal 

Stepping  Fast Fox 

Lovebound Fox 


Copyright,  1923.  by  the  Photoplay  Publishing  Company,  Chicago. 


Contents  —  Continued 

Three  New  Faces  (Photographs)  38 

They're  Attracting  Attention  Just  Now — Jetta  Goudal,  Constance 
Wilson  and  Neil  Hamilton 

Meet  the  Duchess!  Herbert  Howe    39 

Alma  Rubens  Is  More  Than  to  the  Manner  Born 

The  Romantic  History  of  the  Motion  Picture 

Terry  Ramsaye    40 
In  This  Chapter,  Among  Other  Things,  the  True  Story  of  Mary 
Pickford's  Beginning 

Gag  Men  Mary  Winship    44 

Who  Think  Up  the  Funny  Things  You  Laugh  at  on  the  Screen 

May  Allison's  New  Personality  (Photographs)  46 

The  Photoplay  Medal  of  Honor  47 

You  Are  Invited  to  Cast  Your  Ballot  for  What  You  Consider  to 
Be  the  Best  Picture  of  1922 

The  Studio  Secret  (Fiction)         Frederic  Arnold  Kummer    48 
A  Realistic  Story  of  Love  and  Intrigue  in  Hollywood 

Illustrated  by  James  Montgomery  Flagg 

The  Coming  Mansfield  52 

That's  What  They're  Calling  Lowell  J.  Sherman 

A  Charming  "Mother"  52 

Myrtle  Stedman  Stages  a  "Come-back" 

Hollywood's  Pride  53 

Lois  Wilson  Is  Just  That 

A  Welcome  Return  53 

And  What  a  Return  It  Was — That  of  J.  Warren  Kerrigan 

To  Bob  or  Not  to  Bob  (Photographs)  54 

The  Girl  Producer  Sydney  Valentine    55 

Grace  Haskins  at  Twenty-two  Writes  and  Directs  a  Picture 

They've  Found  Their  Voices  (Photographs)  56 

Favorites  of  the  Film  Who  Have  Taken  to  the  Speaking  Stage 

Close- Ups  and  Long  Shots  Herbert  Howe    58 

Comment  on  the  Activities  of  Screen  Personalities 

Decorations  by  John  Held,  Jr. 

Rotogravure:  59 

$5,000  in  Fifty  Cash  Prizes! 

Rules  of  Photoplay  Magazine's  Great  Screen  Contest 
Nita  Naldi  (Photograph) 

"Star  Stuff"  (Fiction)  Roy  Milton  Iliff    63 

In  Which  Love  Emerges  Upon  a  Smooth  Course  After  a  Long  and 
Somewhat  Painful  Detour 

Illustrated  by  George  van  Werveke 

A  Movie  Fan's  First  Impression  of  a  Film  Studio  66 

Cartoon  by  H.  W.  Haenigsen 
The  Shadow  Stage  Frederick  James  Smith    67 

The  Department  of  Practical  Screen  Criticism 

Where  the  Lloyds  Live  (Photographs)  72 

So  This  Is  "Lawful  Larceny"?  (Photograph)  72 

Mary  Carr  in  Three  Generations  73 

Gossip — East  and  West  Cal  York     74 

The  Latest  News  of  the  Film  Folk 

Questions  and  Answers  The  Answer  Man    81 

"The  Woman  With  Four  Faces"  (Photographs)  86 

The  Tie  That  Blinds  (Photographs)  86 

As  Demonstrated  by  Raymond  Griffith 

Why  Do  They  Do  It?  96 

Screen  "Breaks"  Caught  by  Readers  of  Photoplay 

Casts  of  Current  Photoplays  111 

Complete  for  Every  Picture  Reviewed  in  This  Issue 

Addresses  of  the  leading  motion  picture  studios 
will  be  found  on  page  15 


(P>*- 


**3® 


What  Chance 

has  a 

Beginner 

in 

Motion 
Pictures 

today  ? 


No  field  of  work  in  all 
America  is  richer  in  its  re- 
wards than  the  world  of 
motion  pictures — but  can  the 
beginner  break  in?  Gold  and 
fame  await  the  successful 
aspirant  for  film  popularity — 
but  actually  what  are  the 
chances  of  an  outsider  to  win 
out? 

Photoplay  has  canvassed 
the  whole  field  of  the  photo- 
play with  great  care  and  the 
results  will  be  published  in 
the  August  number.  Here 
will  be  found  the  frank  and 
honest  opinions  of  the  heads 
of  the  casting  departments  of 
Famous  Players-Lasky,  both 
in  New  York  and  on  the 
coast,  of  Metro,  of  Fox,  of 
Cosmopolitan  and  other  big 
companies. 

Here,  too,  will  be  the 
answers  of  our  most  famous 
directors,  including 

David  Wark  Griffith 

Cecil  B.deMille 

Hobart  Henley 

Marshall  Neilan 

and 

Allan  Dwan 


Qw- 


=*r<sS>3 


Photoplay  Magazine — Advertising  Section 


Enjoij  thirst*' 


\^lk  in  —  there's 
a  bright  red  sign  to 
guide  you  to  a  cool  and 
cheerful  place- where 
they  serve  the  beverage 
which  proves  itself  per- 
fect when  you  taste  it 

Drink 


l&Z 


Delicious  and  Refreshing 


The  Coca-Cola  Company 

Atlanta,  Ga. 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


"A  First  Class  Fighting  Man" 

Wayne,  Mich. 
Editor  Photoplay  Magazine. 

Dear  Sir:  In  "Brickbats  and  Bouquets,"  I 
see  where  Dorothy  Curkeet  hits  Jim  Kirkwood 
pretty  hard  as  a  man  trying  to  hide  his  iden- 
tity. I  think  he  played  his  part  splendidly  in 
"Under  Two  Flags."  I  wonder  if  Dorothy 
knows  that  in  the  crack  regiment  of  guards, 
that  Victor  is  supposed  to  have  belonged  to, 
the  men  are  not  babies,  or  little  whipper- 
snappers,  or  dandies,  but  hard  fighting  men  all 
over  six  feet.  I  know  for  I  have  had  the  honor 
of  fighting  with  them  as  far  back  as  the  Boer 
War — probably  before  Dorothy  was  born.  My 
opinion,  and  also  the  opinion  of  others  in  this 
community,  is  that  Jim  did  his  work  well. 
Dania  A.  Brown. 


What  Sweden  Thinks  of  Us 

Stockholm,  Sweden. 
Editor  Photoplay  Magazine. 

Dear  Sir:  I  am  a  Swede  (by  the  way,  Sweden 
is  very  far  from  the  Pole,  we  have  snow  only 
two  or  three  months  a  year,  and  polar  bears 
have  not  existed  here  for  centuries,  so  I  beg 
you  not  to  think  I  am  some  cavewoman  who 
has  been  just  slightly  touched  by  civilization) 
and  I  have  for  several  years  been  reading  your 
excellent  magazine.  The  "  Brickbats  and  Bou- 
quets" especially  seems  to  me  a  splendid  idea, 
and  I  should  like  to  express  a  few  thoughts  on 
the  movies.  First  of  all  the  American  pictures 
do  not  play  the  same  dominating  role  here  as  in 
the  U.  S.  A.  We  have  Scandinavian,  French 
and  (let  me  whisper  it)  German  ones  to  com- 
pare with  and  I  am  sorry  to  say  the  "made  in 
U.  S.  A."  pictures  often  do  very  badly.  Not 
in  photographing  and  settings,  but  in  stories 
and  acting.  Why  can  you  not  make  fewer 
pictures;   find   better   stories   and  actors? 

I  belong  to  those  few  who  still  believe  in 
the  film  as  an  art,  but  as  long  as  people  only 
use  it  for  advertisement,  to  escape  thinking, 
as  a  mannequin  exhibition  or  as  a  means  of  earn- 
ing a  lot  of  money,  it  has  no  future,  regarded 
as  an  art.  It  is  shocking  to  see  all  these  so- 
called  actresses  with  beautiful  faces  and  bodies 
but  no  brains  or  talents  whatsoever.  Clothes 
and  coiffures  and  Beauty  Contests  do  not 
make  good  actresses,  but  this  is  what  many 
seem  to  think. 

In  my  opinion,  there  are  only  about 
four  or  five  good  actresses — Mary,  Norma, 
Lillian,  Alia  and  Pola  (who  is  Polish!)  and  as 
for  the  actors—!  Speaking  of  actors,  all 
Sweden  is  going  through  the  Valentino  fever 
just  now,  but  typically  enough  most  of  his 
admirers  seem  to  be  in  the  ten  to  sixteen  years 
age.  It  is  a  pity  he  has  become  such  a  woman 
idol.  He  really  has  some  talent  but  now  I 
suppose  he  is  going  to  be  content  with  his  good 
looks  only.  Dick  Barthelmess  though  is  a  real 
actor,  and  I  congratulate  you  in  having  him. 

All  this,  however,  does  not  imply  that  I  am 
an  enemy  of  the  American  film  industry. 
Such  pictures  as  "The  Four  Horsemen"  and 
"Way  Down  East"  make  one  tolerate  at  least 
five  bad  ones,  and  I  also  like  the  Constance 
Talmadge  comedies.  But  it  is  these  vulgar 
and  sensational  pictures  like  "The  Sheik"  or 
"Anatole"  or  "The  Gilded  Cage"  that  I,  and 
many  with  me,  should  like  to  see  put  out. 
These  "luxurious"  pictures  only  do  harm  to  the 
film. 

And  last  allow  me  to  put  this  question — 
why  so  openly  discuss  the  private  affairs  of 
the  stars  (Untold  Love  Stories,  etc.)  in  a  maga- 
zine? The  life  of  a  star  ought  to  be  his  or  her 
private  property  with  which  the  public  has 
nothing  to  do. 

At  least  to  many  Europeans  this  familiarity 
seems  repellent. 

Elsa  Johnnsson. 

8 


Brickbats 
Bouquets 

LETTERS 
EROM  READERS 


The  readers  of  Photoplay  are 
invited  to  write  this  department 
— to  register  complaints  or  com- 
pliments— to  tell  just  what  they 
think  of  pictures  and  players. 
We  suggest  that  you  express  your 
ideas  as  briefly  as  possible  and 
refrain  from  severe  personal  crit- 
icism, remembering  that  the 
object  of  these  columns  is  to  ex- 
change thoughts  that  may  bring 
about  better  pictures  and  better 
acting.  Be  constructive.  We  may 
not  agree  with  the  sentiments  ex- 
pressed, but  we'll  publish  them 
just  the  same!  Letters  should  not 
exceed  ZOO  words  and  should  bear 
thewriter'  sfullnamc  and  address. 


"Wasting  Her  Sweetness — " 

New  York  City. 
Editor  Photoplay  Magazine. 

Dear  Sir:  For  a  long  time  I  have  wanted 
to  write  you  asking  you  a  favor.  The  favor 
I  ask  is  for  a  dear,  sweet  little  lady  who  ap- 
pears in  very  poor  pictures  on  the  screen.  She 
is  that  beautiful  child,  May  McAvoy.  Please 
have  a  heart  and  write  a  page  in  Photoplay 
and  ask  Mr.  Lasky  to  tell  you  why  he  doesn't 
buy  her  a  good  story.  Did  you  see  her  in 
"Clarence,"  in  "Kick  In,"  or  any  picture  at 
all?  Here  is  an  actress  with  youth,  beauty, 
talent.  Still  her  time  is  wasted  every  day  in 
every  way  with  the  Famous  Players-Lasky 
Corporation.  I  am  writing  you  because  you 
know  and  appreciate  good  acting.  For  Miss 
McAvoy's  sake  as  well  as  her  public's  please 
ask  Mr.  Lasky  to  give  her  better  stories. 

Bessie  Barrett. 

To  the  Prying  Public 

Los  Angeles,  Calif. 
Editor  Photoplay  Magazine. 

Dear  Sir:  Why  all  this  agonized  inquiry 
after  the  ages  of  the  movie  actors?  The  poor 
people  can't  help  when  they  were  born.  It's 
got  nothing  to  do  with  their  art,  anyway.  The 
superb  actors,  the  Barrymore  and  Beery 
brothers,  may  be  hilariously  sliding  toward 
their  eightieth  birthdays  and  Mary  Pickford 
may  be  dancing  on  the  verge  of  her  fiftieth 
and  our  beloved  Douglas  may  be  diving  head 
foremost  into  his  seventieth  year,  what  do  I 
care?  It  worries  me  not  at  all,  so  long  as  I  can 
enjoy  their  art.  What  does  it  matter  to  the 
public?  Inquiring  after  ages,  I  mean — petty, 
prying  curiosity,  typical  of  the  mind  that  wants 
to  open  other  people's  letters  and  spy  into 
their  poor  little  secrets,  then  run  and  tell 
someone  what  they  have  discovered. 


Here  is  a  first  rate  brickbat  for  a  lot  of  your 
readers  and  I  hope  you  will  give  it  due  space. 
And  I  will  add  that  I  am  neither  a  motion 
picture  actor  nor  related  to  one,  neither  do 
I  know  any.  I  hope  these  questions  as  to  our 
stars'  ages  will  hereafter  receive  the  ignoring 
that  they  deserve. 

Athelstane. 

The  Better  Things  of  Life 

Jersey  City,  N.  J. 
Editor  Photoplay  Magazine. 

Dear  Sir:  Everyone  is  giving  their  opinion 
of  the  stars  and  movies  and  I  would  like  to  say 
a  few  words  concerning  them. 

The  people  have  been  hungry  for  better  pic- 
tures for  some  time  and  a  few  stars  and 
directors  have  listened  to  the  public  voice, 
among  them  Cecil  de  Mille  and  D.  W.  Griffith 
of  the  directors,  Marion  Davies,  Douglas 
Fairbanks,  Douglas  MacLean,  Mae  Murray, 
Norma  Talmadge,  Constance  Talmadge  and 
Rodolph  Valentino.  These  are  the  only  ones 
who  are  doing  their  best  to  make  pictures 
better.  Most  credit  should  go  to  Douglas 
Fairbanks,  who,  after  giving  us  a  splendid 
performance  in  "The  Mark  of  Zorro" — a  won- 
derful picture — gave  us  a  greater  in  "The 
Three  Musketeers"  and  a  still  better  one  in  his 
latest  production  "Robin  Hood."  Fairbanks 
today  is  not  the  same  Fairbanks  of  three  years 
ago. 

I  am  looking  for  great  things  from  Barbara 
La  Marr,  Jacqueline  Logan,  Leatrice  Joy, 
Pauline  Garon  and  Ramon  Novarro.  And 
hoping  that  Barbara  La  Marr  and  Ramon 
Novarro  remain  with  Rex  Ingram. 

In  closing  I  wish  to  say  that  I  have  given 
up  seeing  between  twenty  or  twenty-five  stars 
during  the  past  year  and  I  haven't  yet  seen 
one  of  them  this  year.  I  have  been  fed  up 
with  poor  pictures  and  I  will  not  see  them 
until  they  give  better  and  more  sensible  ones. 
I  am  saving  my  money  for  better  things.  I  for 
one  want  better  and  fewer  pictures  with  more 
stars  in  them. 

Jay  Margulies 

Vive  Le  Rex! 

Jamestown,  N.  D. 
Editor  Photoplay  Magazine. 

Dear  Sir:  I  have  just  seen  "Trifling 
Women"  and  I  must  admit  that  it  is  the  best 
picture  I  have  witnessed  in  six  months. 

Barbara  La  Marr  was  superb  in  her  acting 
as  well  as  being  exquisite  and  Ramon  Novarro 
was — well — who  said  he  couldn't  act?  Some- 
thing must  be  said  about  Lewis  Stone's  fine 
work  also. 

Rex  Ingram  gives  a  certain  subtlety  and 
mystery  to  his  characters  that  other  pro- 
ducers have  never  shown,  or  if  they  have  they  fail 
to  make  an  impressive  thing  of  it;  a  thing  that 
lasts  in  the  mind  of  the  public.  Those  who 
have  seen  this  picture  recall  the  ape  and 
dwarfs  and  the  sinister  gloom  which  seemed  to 
envelop  them.  The  most  unfeeling  person  in 
the  audience  could  not  mistake  it. 

If  you  remember  "The  Four  Horsemen"  and 
"The  Conquering  Power,"  etc..  remember 
them  for  one  thing  besides  the  splendid  acting 
of  the  stars,  and  that  is  the  personality  of  Rex 
Ingram  throughout  the  whole  picture! 

When  I  go  into  the  theater  and  listen  to  the 
lulling  music  of  the  orchestra,  a  magic  flash 
comes  to  the  screen  bearing  the  words,  "Rex 
Ingram  Productions."  Instantly  the  atmos- 
phere of  the  theater  changes,  I  am  ready  to 
enjoy  the  mystery,  romance  and  beauty  that 
this  cinema  master  gives  so  freely  in  his  pic- 
tures. I  am  hoping  that  "Where  the  Pave- 
ment Ends"  may  not  be  unlike  "The  Conquer- 
ing Power"  or  "Trifling  Women." 

Helene  G.  Bellis. 
[  continued  on  page  io  ] 


Photoplay  Magazine — Advertising  Section 


Fourteen  More  New  Screen 


Writers 


— trained  by  this  Corporation — who  have  re- 
cently sold  stories  or  obtained  studio  staff 
positions  in  producing  companies. 


Ethel  Styles 
Middleton, 

Pittsburgh,  wrote  the  first 
Palmer/flay.  She  receives 
royalties  on  the  profits 
of  the  picture  for  five 
years,  having  already  re- 
ceived au  advance  pay- 
ment of  S1000. 


These  Men  and 

Women 

In  addition  to  Mrs.  Middleton,  men- 
tioned above,  the  following  have  recently 
sold  stories  or  accepted  studio  staff  positions 
in  producing  companies: 

Waldo  Twitchell.  graduate  engineer,  now 
assistant  production  manager  at  the  Fair- 
banks-Pickford    Studios. 

John  Holden,  fiction  writer,  now  on  the 
staff  of  one  of  the  large  Eastern  produc- 
ers. 

Jane  Hurrle,  portrait  painter,  whose  story, 
"Robes  of  Redemption,"  was  purchased 
by  Allen  Holubar. 

Jessamine  Childs  January  received  her 
chance  to  become  a  member  of  an  Eastern 
Studio  Staff  through  the  recommendation 
of   the  Palmer   Department  of    Education. 

Jesse  H.  Buffum,  veteran  film  man.  who 
found  in  the  Palmer  Course  the  training 
that  enables  him  to  do  his  work  better. 

Euphrasie  Molle,  a  school  teacher,  recent- 
ly sold  her  story,  "The  Violets  of  Yes- 
teryear," to  Hobart  Bosworth. 

G.  Harrison  Wiley,  research  director  at 
the  Metro  Studios,  was  able  through  the 
Palmer  Training  to  raise  himself  from  a 
small  salaried  position  to  a  place  of  re- 
sponsibility in  the  film  world. 

Gladys  Gordon  undertook  the  Palmer 
training  in  a  spirit  of  scepticism.  Now 
she  is  a  staff  writer  in  one  of  the  large 
Eastern  studios. 

Mrs.  Bernadine  King,  of  Kansas  City, 
whose  story  was  recently  purchased 
through    us    by    the   Caldwell    Productions. 

Francis  Knowles,  Eastern  attorney,  now 
on  the  staff  of  an   Eastern  producer. 

Mrs.  Katherine  Cook  Briggs,  Washing- 
ton, D.  C,  whose  story,  "The  Ninth 
Name,"  was  recently  sold. 

Kenneth  M.  Murray,  New  York,  recently 
obtained  a  staff  position  in  or*  of  the 
large  studios. 

Phyllis  Chapman,  New  York,  has  entered 
a  targe  Eastern  studio  where  her  work  is 
attracting  the  attention  of  the  studio  ex- 
ecutives. 


Advisory  Council 

Frederick  Palmer,  Author  and  Educator 

Thos.  H-  Ince,  Producer 

Allen  Holubar,  Producer  and  Director 

E.  J.  Banks,  M.  A.,  Director.  Sacred  Films,  Inc. 

Rob  Wagner,  Scenarist  and  Director 

Rex  Ingram,  Director  and  Producer 

C.  Cardner  Sullivan,  Scenarist 

3.  L.  Frothingham,  Producer 

James  R.  Quirk,  Editor,  Photoplay  Magazine 

Educational  Staff  Officers 

Clayton  Hamilton,  M.  A. ,  Director  of  Education 
Douglas  Z.  Doty,  Editor-in-Chief 


Our  search  is  being  tremendously  suc- 
cessful because  of  the  novel  Palmer  Cre- 
ative Test,  developed  by  Douglas  Z. 
Doty,  formerly  editor  of  Cosmopolitan 
and  Century  Magazines  and  literary  ad- 
viser to  Harper  and  Brothers. 

During  his  years  as  an  editor,  Mr. 
Doty  was  deeply  interested  in  the  new 


and      writer. 


Douglas  Z.  Doty 


RECOGNITION  and  financial  re- 
*  wards  have  come  to  fourteen  more 
Palmer  trained  writers.  Five  of  them 
have  recently  sold  stories. 

Nine  are  employed  in  studio  staff  work 
in  producing  companies.  All  discovered 
their  ability  through  the  Palmer  Creative 
Test  which  is  offered  to  you  now. 

They    are    typical    of    the    men 
women  in  all  walks  of  life  who, 
without    realizing   it,    have   the 
ability  to  duplicate  this  success. 

Seriously  Needed  by  the 
Industry 

The  motion  picture  industry 
needs  these  men  and  women  and 
needs  hundreds  of  others  who 
have  like  ability. 

Mechanically  the   industry  is 
close  to  perfection.  The  directing 
and  acting  personnel  has  reached 
a  high  level  of  artistic  accom- 
plishment.     But   one   thing   is   lacking. 
There  are  not  enough  good  stories,  writ- 
ten directly  for  the  screen,  to  supply  the 
demands  of  the  great  producers. 

Few  novels,  short  stories  and  stage 
plays,  really  adaptable  for  motion  pic- 
tures, are  now  available. 

Novelists,  short  story  writers  and  play- 
wrights have  been  attracted  by  the  hun- 
dreds because  of  the  large  prices  offered 
for  acceptable  stories.  Only  a  handful 
have  succeeded. 

The  future  of  this  great  industry  lies 
with  hundreds  of  unknown  men  and  wo- 
men who,  like  the  fourteen  whose  names 
appear  here,  can  write  the  straightfor- 
ward, interesting  stories  of  life  as  they 
live  it. 

We  Search  the  Nation 

We  know  that  many  people,  who  do 
not  know  it  now,  can  succeed  in  this 
field.  And  because  we  are  the  largest 
single  clearing  house  for  the  sale  of  sce- 
narios to  the  producing  companies,  we 
are  searching  out  these  people.  We  must 
have  stories  to  sell.  And  we  must  have 
stories  to  produce,  for  we  are  also  pro- 
during  better  pictures — Palmer/days. 

For  stories  written  by  new  writers, 
Palmer  trained,  which  we  select  for 
Palmer/days,  we  offer  royalties  for  five 
years  on  the  profits  of  the  pictures  with  C,TY s"" 

an  advance  payment  of  $1000.  All  correspondence  strictly  confidential. 

I' hen  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE;. 


He  discovered  and  encour- 
aged several  who  have  become 
famous. 

More  recently  Mr.  Doty  has  been 
an  editor  in  the  studios  of  some  of 
the  more  prominent  producers. 
Thus  he  is  qualified  to  aid  in  the 
discovery  of  new  screen  writers  by 
a  well  rounded  experience. 

We  Test  You  Free 

To  prevent  anyone  with  ability 
being  overlooked,  we  test  men  and 
women  at  our  expense. 

You   merely  send   us  the  coupon 

for  the  Test.     Work  it  out  in  your 

own  home  and    return  it  to   us  for 

our  careful    and   personal    analysis. 

If  your  test  indicates  that  you  have  natural 

story  telling  ability — Creative  Imagination — 

you    receive    additional    information    relative 

to  the  Palmer  Course  and  Service. 

If  you  lack  this  ability,  you  are  courteously 
advised  against  further  effort  along  this  line. 
We  want  to  train  only  those  who  are  nat- 
urally qualified.  Tests  returned  by  persons 
under  legal  age  will  not  be  considered. 

We  invite  you  to  test  yourself,  without  any 
obligation  whatsoever.  Merely  send  the  cou- 
pon now. 

Perhaps  you,  like  these  others,  have  ability 
which  opens  up  a  new  and  profitable  field  of 
effort.  Though  you  doubt  it,  it  costs  you 
nothing  to  know.  And  it  is  too  important  a 
matter  to  decide  by  a  guess. 

Clip  the  coupon.  Receive  also,  Carrol  B. 
Dotson's  interesting  booklet,  "How  a  $10,000 
Imagination  Was  Discovered." 


Palmer  Photoplay  Corporation, 

Department  oj  Education,  Sec.  1207 
Palmer  Building,  6362  Hollywood  Blvd., 
Hollywood,  California. 

Please  send  me  by  return  mail  your  Creative  Test 
which  I  am  to  fill  out  and  mail  back  to  you  for 
analysis.  It  is  understood  that  this  coupon  entitles 
me  to  an  intimate  persona!  report  on  my  ability  by 
your  Examining  Board,  without  the  slightest  obliga- 
tion or  cost  on  my  part.  Also  send  me,  free.  Carrol 
B.  Dotson's  booklet,  "How  a  1 10.000  Imagination 
Was  Discovered." 


Name.. 


Street.. 


IO 


Photoplay  Magazine — Advertising  Section 


Earle  E.  Liederman 
as  he  is  to-day 

How  Do  You  Look 
in  a  Bathing  Suit  ? 

The  good  old  swimming  days  are  here.  Oh 
boy!  But  it's  great  to  rip  off  the  old  shirt,  into 
your  suit  and  take  the  splash.  But  what  a  shock 
to  some  of  the  poor  girls  when  they  see  their 
heroes  come  out  with  flat  chests  and  skinny  arms 
instead  of  the  robust  frames  they  expected  to  see. 

You  Can't  Fool  Them 

Don't  try  to  make  excuses.  You  should  have 
knobs  on  your  arms  like  a  baseball.  A  fine  protector 
you  would  make,  when  you  can't  even  fight  your 
own  battles.  What  are  you  going  to  do?  She  is 
going  to  And  you  out. 

Look  Your  Best 

It's  not  too  late.  I  can  save  you  yet.  It  means 
hard  work  and  plenty  of  it,  but  think  of  the  results. 
In  just  30  days  I  am  going  to  add  one  full  inch  to 
your  biceps.  Yes,  and  two  inches  on  your  chest  in 
the  same  length  of  time.  But  that's  only  a  starter. 
I  am  going  to  broaden  out  those  shoulders  and  put 
real  pep  into  your  old  backbone.  You  will  have  a 
spring  to  your  step  and  a  flash  to  your  eye,  showing 
you  to  be  a  real,  live  man.  Before  summer  is  past 
you  won't  recognize  your  former  self.  You  will 
have  a  physique  to  be  really  proud  of.  This  is  no 
idle  talk,  fellows.  I  don't  promise  these  things.  I 
guarantee  them.     Come  on  and  make  me  prove  it. 

Send  for  My  New  64-Page  Book 

"MUSCULAR  DEVELOPMENT" 

It  contains  forty-three  full-page  photographs  of 
myself  and  some  of  the  many  prize-winning  pupils 
I  have  trained.  Some  of  these  came  to  me  as  pitiful 
weaklings,  imploring  me  to  help  them.  Look  theni 
over  now  and  you  will  marvel  at  their  present 
physiques.  This  book  will  prove  an  impetus  and  a 
real  inspiration  to  you.  It  will  thrill  you  through 
and  through.  All  I  ask  Is  10  cents  to  cover  the  cost 
of  wrapping  and  mailing  and  it  is  yours  to  keep. 
This  will  not  obligate  you  at  all,  but  for  the  sake  of 
your  future  health  and  happiness,  do  not  put  it 
off.  Send  today — right  now,  before  you  turn  this 
page. 

EARLE  E.  LEEDERMAN 

Dept.  107,   305   Broadway,   New   York   City 


EARLE  E.  LIEDERMAN 

Dept.  107,  305  Broadway,  New  York  City 

Dear  Sir: — I  enclose  herewith  10  cents,  for  which 
you  are  to  send  me,  without  any  obligation  on  my 
part  whatever,  a  copy  of  your  latest  book  "Mus- 
cular Development.     (Please  write  or  print  plainly.) 


Name 

Street 

City State. 


[  CONTINUED 

The  Available  Antonio 

Utica,  N.  Y. 
Editor  Photoplay  Magazine. 

Dear  Sir:  I  think  that  Antonio  Moreno's 
portrayal  of  Manuel  La  Tassa  in  "My  Ameri- 
can Wife"  is  without  question  one  of  the 
greatest  pieces  of  acting  I  have  ever  seen.  He 
makes  the  gay  Latin  so  fascinating,  so  ro- 
mantic. According  to  report  Paramount  has 
intended  to  have  Charles  de  Roche  play  the 
roles  selected  for  Rodolph  Valentino.  How 
ridiculous  when  Antonio  Moreno,  who  is  so 
much  better  looking  and  better  suited  for  the 
kind  of  parts  played  by  Valentino,  is  available. 
It  surely  seems  that  with  his  remarkable  per- 
sonality, Antonio  Moreno  could  reach  great 
heights  if  only  featured  in  the  right  kind  of 
pictures. 

Richard  D.  Kernan. 

The  Glynned-up   Gloria 

Burlingame,  Calif. 
Editor  Photoplay  Magazine  : 

Dear  Sir:  I  just  saw  "My  American  Wife" 
with  Gloria  Swanson  and  "Tony"  Moreno 
"Tony"  is  a  handsome  devil  but,  where  oh 
where,  is  our  old  Gloria?  Her  big  gray  eyes 
are  now  made  up  to  look  like  a  cat's  and  her 
whole  expression  is  "a  la  Elinor  Glyn."  We 
loved  her  as  she  was — a  little  sweet,  snippy, 
personality,  but  who  wants  to  see  the  "Glyn" 
on  the  screen!  Her  screen  stories  are  bad 
enough — goodness  knows — Is  she  under  con- 
tract or  why  do  they  keep  her  on?  Wre  Americans 
are  glad  to  give  anyone  a  chance  and  pay  them 
handsomely  but  it  seems  when  one  can't 
"deliver"  they  should  run  along  home  We 
used  to  turn  out  "en  family"  to  see  any  pic- 
ture with  Elinor's  name  to  it  but  now  we  have 
learned  to  shun  them,  for  they  are  pure 
"hokum."  Even  our  favorite  stars  can't  save 
them. 

G.  M.  Lang. 

The  All-American  Idol 

Chapel  Hill,  N.  C. 
Editor  Photoplay  Magazine. 

Dear  Sir:  Stars  may  come  and  stars  may 
go  but  no  one  will  ever  take  the  place  of  "Our 
Mary." 

Many  people  say  they  were  disappointed  in 
"Tess  of  the  Storm  Country"  and  I  wonder 
why.  What  did  they  want?  Mary  to  appear 
as  a  1923  flapper,  I  suppose!  I  believe  the 
majority  of  people  will  take  her  as  always, 
with  curls  and  sun-bonnet.  I  think  her  plays 
are  splendid;  so  different. 

The  children  all  love  her,  for  she  is  their 
ideal  and  her  plays  are  seldom  criticized  as 
others  often  are.  Why?  Because  as  I  say 
they  are  "different." 

"Bella  Donna"  was  turned  down  in  several 
cities  in  our  state,  so  I  did  not  see  the  picture. 

Let's  have  more  of  Mary. 

Mrs.  M.  M.  Reid. 

Call  for  Theda  Bara! 

Washington,  D.  C. 
Editor  Photoplay  Magazine. 

Dear  Sir:  I  feel  that  it  is  necessary  to 
write  a  line  to  protest  against  such  pictures  as 
I  saw  at  one  of  the  leading  theaters  recently, 
"Bella  Donna." 

If  we  must  have  vamps  of  the  snaky  type, 
why  not  remain  loyal  to  our  ail-American 
Theda  Bara,  who  has  been  relegated  to  the 
limbo  of  the  forgotten?  I  am  sure  she  was 
far  more  acceptable  than  Pola  Negri  is  in  her 
first  American  production. 

Such  a  plotless  jumble  of  male  victims  "that 
passed  with  each  night."  And  one  of  our  old 
favorites,  Conway  Tearle,  so  badly  miscast 
that  old  memories  of  past  successes  arose  from 
their  graves  to  wander  hopelessly  until  he 
again  redeems  himself. 


Brickbats  and  Bouquets 


from  page  8  ] 

Conrad  Nagel!  May  your  tribe  increase; 
you  are  one  of  the  bright,  bright  stars  of  Loth 
the  legitimate  stage,  and  of  the  screen. 

Mrs.  E.  M.  L. 

Eugene    &    Norma — Their    Play 

Pittsburgh,  Pa. 
Editor  Photoplay  Magazine. 

Dear  Sir:  I  have  wanted  to  write  to  you 
for  some  time  praising  Norma  Talmadge's 
work,  but  have  never  gotten  up  courage  to  do 
so.  However,  after  reading  "Youngstown 
Stenographer's"  letter  in  the  May  issue  of  this 
magazine,  I  feel  as  if  I  must  say  something  on 
the  subject. 

If  our  "Youngstown  Stenographer,"  and  in 
fact  anyone  in  Youngstown,  did  not  like  Norma 
Talmadge's  and  Eugene  O'Brien's  work  in 
"The  Voice  from  the  Minaret,"  I  cannot  think 
where  their  intelligent  reasoning  and  judgment 
is.  I  think  Norma  Talmadge  is  wonderful  in 
any  picture,  but  when  she  plays  with  Eugene 
O'Brien,  she  reigns  supreme.  Eugene  O'Brien 
is  good  too,  but  when  he  plays  with  Norma 
Talmadge,  it  is  the  making  of  him.  He's  won- 
derful.   If  he  could  only  play  with  her  always. 

Our  "Youngstown  Stenographer"  claims 
they  tried  awfully  hard  to  can  Norma  Tal- 
madge and  Eugene  O'Brien.  I  think  most 
everyone  in  Pittsburgh  will  have  something  to 
say  to  that,  for  I  haven't  heard  anybody  have 
anything  to  say  on  the  subject  but  tnat  Eugene 
and  Norma  are  wonderful  together. 

We  also  love  to  see  Norma  Talmadge  and 
Harrison  Ford  play  together. 

We  are  waiting  anxiously  for  Norma's  next 
picture  here  in  Pittsburgh,  "Within  the  Law." 
"Pittsburgh  Stenographer." 


Coming  Close  to  Booth 

St.  Louis,  Mo. 
Editor  Photoplay  Magazine. 

Dear  Sir:  I  read  an  article  in  your  April 
magazine  where  a  New  York  young  lady 
compares  Valentino  with  Edwin  Booth — 
evidently  she  never  saw  Edwin  Booth. 

Valentino  may  be  very  good  in  the  various 
parts  he  has  played  but  there  are  a  dozen  or 
more  in  the  picture  world  just  as  good.  I  am 
sure  the  late  Wallace  Reid  surpassed  him  in 
looks,  physique  and  acting.  I  could  mention 
a  great  many  more  but  don't  want  to  take  up 
your  time.  But,  just  let  me  add  this  much — 
"The  Little  Colonel"  (Henry  B.  Walthall)  is 
the  only  actor  on  the  screen  that  comes  any- 
way near  Edwin  Booth — and  I  am  sure  there 
are  quite  a  few  that  will  agree  with  me. 

Agnes  Lindsley. 

P.  S.- — One  who  has  seen  Edwin  Booth! 


Doesn't  Like  Doug's  Acting 

New  York,  N.  Y. 
Editor  Photoplay  Magazine. 

Dear  Sir:  Although  a  constant  reader  of 
your  magazine  for  a  period  a  little  over 
two  years,  I  have  never  attempted  to 
write  to  you  before  (finding  enjoyment  in 
reading  the  letters  of  other  subscribers)  but 
now,  in  the  new  edition,  May,  I  have  read 
two  letters  that  prompted  me  to  write,  as  I 
heartily  agree  with  both.  Those  letters  are  by 
Mrs.  G.  B.  Sharp  and  R.  L.  O.  The  most  glar- 
ing examples  of  literary  masterpieces  being 
murdered  by  screen  actors  (so  called)  are  "The 
Three  Musketeers"  and  "Robin  Hood,"  both 
by  Douglas  Fairbanks.  If  it  was  Fairbanks' 
intention  to  burlesque  both  of  those  grand 
stories,  he  has  succeeded  admirably,  as  they 
were  the  worst  pictures  that  I  have  seen  in 
years.  As  an  actor,  Douglas  Fairbanks  is  a 
first  class  acrobat  or  clown.  At  least  the  fans 
have  this  to  be  thankful  for;  that  John  Gilbert 
was  the  star  in  "Monte  Cristo." 

M.  F.  C. 


Every  advertisement  in  PnoTOPLAY  MAGAZINE  Is  guaranteed. 


Brief  Reviews  of  Current  Pictures 


ADAM  AND  EVA — Paramount-Cosmopolitan. — 
Marion  Davies  does  some  very  good  light  comedy 
work  as  a  spoiled  daughter  of  wealth.     (May.) 

ADAM'S  RIB— Paramount.— Cecil  de  Mille's 
latest — and  worst.  Started  out  to  be  an  epic  of  the 
flapper  and  wound  up  as  a  rhinestone-set  tale  of  the 
girl  who  sacrifices  her  reputation  to  save  her  mother. 
(May.) 

ALICE  ADAMS— Associated  Exhibitors-Pathe.— 
A  true  celluloid  counterpart  of  Booth  Tarkington's 
thoroughly  human  account  of  small-town  Indiana 
life.     (April.) 

ALL    THE    BROTHERS    WERE    VALIANT— 

Metro. — A  whaling  good  story  of  the  sea,  though  over 
long.     (April.) 

ARE  YOU  A  FAILURE?— Preferred  Pictures.^-A 
story  in  seven  reels  that  deserves  three.  It  may 
amuse  the  old  folks  and  children.  A  small  town 
seemingly  inhabited  entirely  by  actors.     (May.) 

BACKBONE  —  Distinctive  Pictures.— Anything 
but  distinctive — just  average.  A  far-fetched  tale, 
ornately  mounted.     (May.) 

BACK  HOME  AND  BROKE— Paramount.— A 
great  American  combination — George  Ade  and 
Thomas  Meighan — in  a  colloquial  comedy  of  clean 
humor  and  clear  characterization.     (March.) 

BALLOONATIC,  THE— First  National— Buster 
Keaton  below  standard.  But  a  dozen  good  laughs, 
and  Phyllis  Haver  in  a  bathing  suit.     (March.) 

BELLA  DONNA— Paramount.— Pola  Negri's  first 
American-made  picture  does  not  fit  her  as  well  as 
those  tailored  in  Berlin.  Pola  is  more  beautiful  but 
less  moving;  a  passion  flower  fashioned  into  a  poin- 
settia.     The  picture  is  thoroughly  artificial.     (June.) 

BELL  BOY  13— Ince-First  National.— Tries 
desperately  hard  to  be  funny.  Douglas  MacLean  all 
right,  but  this  is  a  two-reeler  that  didn't  know  when 
to  stop  growing.     (April.) 

BOHEMIAN  GIRL,  THE— American  Releasing 
Corporation. — It  all  depends.  Ivor  Novello  and 
Gladys  Cooper.  Creaky  light  opera  retold  in  cellu- 
loid.    (April.) 

BOLTED  DOOR,  THE— Universal— Husband 
and  wife  have  a  quarrel,  a  fortune  hunter  threatens 
to  break  up  what  little  domestic  happiness  is  left, 
but  virtue  triumphs  in  the  end.     (May.) 

BRASS — Warner  Brothers. — Not  for  those  who 
read  the  novel  by  Norris.  A  story  which  doesn't 
dare  anything.  Harry  Myers  excellent  in  small  role. 
(June.) 

BUCKING  THE  BARRIER— Fox  — Dustin  Far- 
num  beating  up  thugs  who  wouldst  thwart  him  from 
claiming  his  rightful  estates.     (June.) 

BULLDOG    DRUMMOND— Hodkinson.— Dime 

novel    thrills   with   a   dime-stagey   hero   in   Carlyle 
Blackwell.     (March.) 

CAN  A  WOMAN  LOVE  TWICE?— F.  B.  O  — 

Apparently  she  can.     Ethel  Clayton,  as  the  harassed 
heroine  of  a  dull,  long-drawn  out  drama,  does.  (May.) 

CANYON  OF  THE  FOOLS— F.  B.  O— After 
seeing  this  picture,  any  audience  will  agree  that  all 
the  fools  aren't  in  the  canyon.  Some  of  them  wrote 
and  directed  this  story.     (April.) 

CAPTAIN-FLY-B  Y-NIGHT— F.  B.  O— Johnnie 
Walker  does  a  Valentino-Fairbanks  in  Spanish 
panties,  sash  and  sombrero.  A  fairly  exciting 
evening.     (March.) 

CASEY  JONES,  JR.— Educational.— Two  reels  of 
good  fun  for  the  whole  family.  A  colored  porter  and 
a  goat  off  er  some  amusing  gags.     (May.) 

CHRISTIAN,  THE— Goldwyn.— The  dramatic 
combat  between  the  physical  and  spiritual,  with 
Mae  Busch  and  Richard  Dix  as  chief  combatants. 
The  old,  old  story  brought  back  to  life,  strength  and 
eloquence  by   Maurice   Tourneur.     (March.) 


CHRISTMAS— F.  B.  O—  A  tree,  candles,  Santa 
Claus  and  the  Carter  de  Havens,  not  to  mention  a 
colored  child,  a  goat,  a  burglar,  policemen  and  more 
darn  fun!     (March.) 

COVERED  WAGON,  THE— Paramount.— The 
biggest  picture  of  the  screen  year.  Real  pioneers 
fighting  their  tortuous  passage  across  the  plains 
and  mountains.  Recommended  to  everyone — young 
and  old,  without  reservations.  Take  the  whole 
family.     A  Will  Hays  promise  made  good.    (May.) 

CRASHING    THROUGH— F.    B.    O—  Not    so 

bad — not  so  good.  A  Harry  Carey  jumble  of  heroics. 

(June.) 

CRINOLINE  AND  ROMANCE— Metro.— A  sac- 
charine picture  of  an  embittered  colonel  who  tries  to 
keep  his  granddaughter  away  from  the  lures  of  the 
wicked  world.      (April.) 

DADDY — First  National. —  A  shopworn  and  old 
fashioned  story  with  Jackie  Coogan  as  its  redeeming 
feature.     (May.) 


AS  a  special  service  to  its  readers, 
Photoplay  Magazine  is  in- 
augurating its  new  department 
of  tabloid  reviews,  presenting  in  brief 
form  critical  comments  upon  all 
photoplays  of  the  preceding  four 
months. 

Photoplay  readers  will  find  this 
new  department  of  tremendous  help — 
for  it  will  be  an  authoritative  and  ac- 
curate summary,  told  in  a  few  words, 
of  all  current  film  dramas. 

Photoplay  has  always  been  first 
and  foremost  in  its  film  reviews. 
However,  the  fact  that  most  photo- 
plays do  not  reach  the  great  majority 
of  the  country's  screen  theaters  until 
months  later,  has  been  a  manifest 
drawback.  This  new  department 
overcomes  this — and  shows  you  ac- 
curately and  concisely  how  to  save 
your  motion  picture  time  and  money. 
You  can  now  determine  at  a  glance 
whether  or  not  your  promised  eve- 
ning's entertainment  is  worth  while. 
The  month  at  the  end  of  each  tabloid 
indicates  the  issue  of  Photoplay  in 
which  the  original  review  appeared. 


DANGEROUS  AGE,  THE— First  National- 
One  of  those  pictures  you've  been  asking  for — human 
throughout.  The  story  of  a  man  of  forty  who 
becomes  susceptible  to  the  silliness  of  spring  which  he 
thought  he'd  outgrown.  Lewis  Stone  and  Cleo 
Madison  deserve  medals.     (March.) 

DANGEROUS  GAME,  A— Universal.— A  little 
girl  with  pretty  ankles  and  a  faith  in  magic,  who 
makes  friends  of  fairies  and  goblins, — that's  Gladys 
Walton.  The  picture  is  no  feat  of  magic,  but  it  will 
do.     (March.) 

DARK  SECRETS— Paramount.— No  excuse  for 
this  in  this  day  and  age.  Dorothy  Dalton  pursued 
by  Egyptian  gent  with  Coue  ideas.     (April.) 

DOCTOR  JACK— Pathe.— Not  Lloyd  at  his  best 
but  better  than  most  anyone  else  at  that.  A  comedy 
with  a  serious  mission,  clean,  wholesome,  entertain- 
ing.     (March.) 

DOLLAR  DEVILS  —  Hodkinson.  —  Dull  and 
dreary.     Small  o.l  town  story — that's  all.     (April.) 


DRIVEN — Universal. — A  celluloid  surprise,  moun- 
tain folks — not  cabaret  hounds.  Recommended  to 
those  who  are  interested  in  the  best  on  the  screen. 
(April.) 

DRUMS  OF  FATE— Paramount.— "Enoch  Ar- 
den"  up-to-date.  Mary  Miles  Minter.  Better 
attend  a  bridge  club  tonight.     (April.) 

ENEMIES  OF  WOMEN— Paramount-Cosmo- 
politan.— An  Ibanez  romance  filmed  in  Paris  and 
Monte  Carlo,  decorated  by  Urban,  dressed  by  Poiret 
and  girled  by  Ziegfeld.  A  million  dollars'  worth  of 
beauty,  including  Alma  Rubens,  and  superb  acting 
by  Lionel  Barrymore.      (June.) 

EX-KAISER  IN  EXILE,  THE— Hodkinson.— 
The  Ex-Kaiser  striding  through  many  acres  of  pleas- 
ant woodland  in  Holland  acting  like  a  caged  lion. 
Wilhelm  looks  quite  healthy — too  healthy  to  make 
the  film  enjoyable.     (May.) 

FAINT  HEARTS— Hodkinson.— A  slap  stick 
comedy  of  a  young  man  seeking  a  fair  one's  hand  in 
the  Fairbanks  manner.     (March.) 

FAMOUS  MRS.  FAIR,  THE— Metro— "Arise, 
Fred  Niblo,  Photoplay  dubs  you  a  directorial  knight 
of  the  screen."  A  perfect  motion  picture  and  a  per- 
fect cast.     You  can't  afford  to  miss  this.     (May.) 

FIGHTING  BLOOD— F.  B.  O.— One  of  the  best 
of  the  serials.  Whether  you  are  a  fight  fan  or  not, 
you  will  enjoy  them.     (April.) 

FIRST  DEGREE,  THE  —  Universal.  —  Frank 
Mayo  does  fine  work  as  a  misunderstood  brother. 
Sylvia  Breamer  weakens  the  story.     (April.) 

FLAME  OF  LIFE,  THE— Universal— Little  spit- 
fire comes  to  happiness  and  love,  despite  a  brutal, 
Scotch  miner  papa.  Priscilla  Dean  is  Little  Spitfire 
and  Wallace  Beery  the  Brutal  Papa.  Both  excellent. 
(March.) 

FOUR  ORPHANS,  THE— Hodkinson  —  A  com- 
edy. Not  the  funniest  ever  made,  but  almost  amusing 
enough.     Charles  Murray  is  the  real  star.     (May.) 

FOURTH    MUSKETEER,    THE— F.    B.    O.— 

Johnnie  Walker  at  his  best  as  a  young  prize-lighter 
who  gives  up  certain  championship  for  the  little  wife. 
(June.) 

FURY — First  National-Inspiration. — A  he-picture 
of  the  sea  with  wallops  in  every  other  scene.  Richard 
Barthelmess  and   Dorothy  Gish.     (April.) 

GENTLEMAN  FROM  AMERICA,  THE— Uni- 
versal.— Hoot  Gibson  and  an  army  pal  adventuring 
in  a  Spanish  duchy.     (April.) 

GHOST  PATROL,  THE— Universal.— Fairly 
good  entertainment.  George  Nichols — new  star. 
Does  usual  stunt  of  walking  away  with  picture. 
{April.) 

GIMME — Goldwyn. — Slightly  over  the  average. 
Young  bride  who  has  to  beg  coin  from  husband  with 
inevitable  consequences.     (April.) 

GLIMPSES  OF  THE  MOON,  THE— Paramount. 
— Beautiful  sets,  beautiful  gowns  and  oh,  such 
beautiful  ladies!  In  a  word,  an  eyeful.  But  nothing 
much  for  the  heart.     (June.) 

GOSSIP— Universal.— Gladys  Walton  ends  a 
great  strike  and  marries  the  mill  owner — all  because 
she  is  a  sweet,  innocent  little  girl  who  knows  nothing 
of  life,  or  the  conventions.     (May.) 

GRUB  STAKE,  THE— American  Releasing  Cor- 
poration.— Fifty-seven  varieties  of  woodland  crea- 
tures, ranging  in  styles  from  bears  to  porcupines. 
Also  Nell  Shipman.    A  unique  forest  picture.   (June.) 

GRUMPY — Paramount. — A  superb  character- 
ization by  Theodore  Roberts.  Well  worth  an  even- 
ing.    C/une.) 

HEARTS  AFLAME— Metro.— The  old  forest 
catches  lire  again.  Anna  Q.  Nilsson  beautiful  and 
brave,  and  Frank  Keenan  impressive  as  the  fire. 
(March.) 

\  CONTINUED  ON  PAGE  13  ] 

11 


12 


Photoplay  Magazine — Advertising  Section 


Do  You  Want 
A  Bigger  Salary? 

It  doesn't  matter  what  you  are  Today 
or  what  you  were  Yesterday.  Tomorrow 
is  your  bright,  clear  day  of  Opportunity. 
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From 

Carolyn  'Van  Wyck 


"pVERY  woman  wants  to  be  charming.  She 
J— 'wants  to  be  admired — to  be  in  demand 
socially.  Each  day  I  receive  letters  from  young 
girls,  from  debutantes,  from  business  women 
and  from  wives  and  mothers.  All  asking  me  to 
give  them  the  secret  of  charm.  All  asking  me 
how  they  may  attain  those  two  elusive  qual- 
ities— personality  and  beauty. 

It  is  the  privilege  of  every  woman  to  be 
charming.  To  be  pretty.  To  taste  of  the 
sweets  of  life.  It  is  the  privilege  of  every 
woman  to  do  all  that  she  can  to  find  popularity 
and  social  success.  She  should  make  the  most 
of  herself;  she  should  consider  carefully  her 
best  features- — and  her  worst  ones.  She  should 
build  a  barrier  of  attraction  between  herself 
and  plainness.  And,  in  doing  so,  she  should  use 
every  aid  that  comes  to  her  hand! 

A  few  years  ago  the  rouge  box  was  disdained, 
and  the  powder  puff  was  kept  in  a  dark  and 
secret  place.  Women  who  used  facial  creams 
and  henna  shampoos;  who  invested  in  mani- 
cures and  massages,  were  considered  vain  and 
over  indulgent.  But  that  is  all  changed,  now. 
And  rightly.  Today  cosmetics  are  considered 
the  logical  helps  that  they  are — when  sensibly 
and  rightly  used ! 

If  pallor  is  not  becoming  to  a  woman  there  is 
no  reason  at  all  why  she  should  not  indulge  in 
a  touch  of  artificial  coloring.  If  her  lashes  and 
brows  are  characterless,  undoubtedly  a  bit  of 
mascarra  or  an  application  of  eyebrow  pencil 
will  improve  her  appearance.  If  straight  hair 
takes  away  from  the  charm  of  her  features  a 
wave — permanent,  or  one  made  with  patent 
curlers — will  help.  Overweight — underweight? 
The  proper  attention  to  massage  and  diet  and 
exercise  will  correct  an  unpleasant  tendency. 
A  good  soap,  a  complexion  clay,  a  skin  food — 
they  are  all  items  to  be  considered  seriously  by 
the  woman  who  longs  for  beauty  and  charm. 

Clothes,  too,  play  their  part.  They  may 
alter  a  whole  personality.  Care  should  be 
taken  in  the  choice  of  color,  the  matter  of  line. 
The  tilt  of  a  hat  brim  has  been  known  to 
bring  out  a  profile's  unexpected  loveliness. 
The  arrangement  of  a  fragment  of  drapery  can 
accentuate — or  utterly  hide — a  marvelous  line. 
And  so  it  goes! 

Every  sensible  woman — and  all  women  who 
want  to  be  pretty  are  sensible — realize  that 
charm  comes  from  something  more  than  sur- 
face value.  They  realize  that  true  attractive- 
ness is  a  combination  of  beauty  of  face,  beauty 
of  form,  and  beauty  of  thought  and  action. 
Good  manners,  tact,  poise  and  intelligence  are 


most  important.  So  are  sweetness  of  nature 
and  willingness  to  be  both  friendly  and  helpful. 
Tolerance  and  good  humor  are  social  assets. 
But  sweetness  of  nature  and  tolerance  cannot 
make  a  shiny  nose  seem  charming.  Friendli- 
ness and  tact  cannot  make  an  unbecoming 
frock  worth  while.  And  good  humor  cannot 
correct  stringy  hair  or  a  bad  complexion! 

It  is  the  privilege  of  every  woman  to  be 
attractive.  To  make  the  most  of  herself.  Not 
only  for  her  own  sake — for  the  sake  of  her 
family — her  fiance,  her  husband,  and  her 
children.  Men  like  to  be  proud  of  their  women 
folk.  And  women  are  glad  when  the  men  who 
love  them  boast  about  their  good  looks.  That 
is  why  women  should  study  themselves — why 
they  should  be  progressive  in  the  matter  of 
appearance.  Why,  if  they  are  not  able  to 
stud}'  themselves  and  judge  of  their  require- 
ments, they  should  ask  questions  until  they  are 
fully  satisfied  that  they  are  on  the  right  road. 

It  is  the  privilege  of  every  woman  to  be 
attractive.  And  it  is  more  than  a  privilege. 
It  is  a  DUTY. 

Helen  M.,  DesMoines,  Iowa. 

Do  not  think  that  your  husband  has  ceased 
to  care  for  you  because  he  stays  late,  very 
often,  at  his  office.  He  has  explained  to  you 
that  he  is  a  busy  man  and  that  his  work  is  a 
growing  and  vital  thing.  You  must  under- 
stand that  while  his  business  is  in  a  formative 
stage  it  needs  his  almost  constant  attention. 
You  are  not  being  pushed  into  the  background 
in  any  way — all  of  the  plans  that  he  is  building 
are  for  you  and  your  future.  Many  women 
have  real  cause  for  jealousy — and,  with  the  real 
cause,  are  more  tolerant  and  broad  minded 
than  you  have  been.  Be  a  helpmate  in  the 
true  sense  of  the  word  and  don't  make  his  road 
any  harder,  by  your  nagging  and  lack  of  under- 
standing, than  it  is. 

J.  W.,  Portland,  Ore. 

Sixteen  is  not  too  young  to  use  a  complexion 
clay.  But  I  would  advise  that  you  bathe 
your  face,  quite  often,  with  witch  hazel,  to 
do  away  with  the  oily  condition  of  the  skin. 

Bernice,  Washington,  N.  J. 

There  are  a  number  of  good  schools  that 
give  dancing  instruction  by  correspondence. 
And  surely,  while  you  are  a  student  at  Wellesley 
college,  you  will  have  splendid  opportunities 
to  study  under  competent  instructors. 

[  CONTINUED  ON  PAGE  l6  ] 


Let  Carolyn  Van  Wyck  be  your  confidante 
She  will  also  be  your  friend 

/CAROLYN  VAN  WYCK  is  a  society  matron,  well  known  in  New  York's  smartest 
(_,  and  most  exclusive  inner  circle.  She  is  still  young  enough  fully  to  appreciate  the 
problems  of  the  girl — she  is  experienced  enough  to  give  sound  advice  to  those  in  need  of 
it;  be  they  flappers,  business  women,  or  wives  and  mothers.  She  invites  your  confidences 
— she  will  respect  them — on  any  subject.  Clothes,  charm  and  beauty,  love,  marriage, 
the  dreams  and  hopes  that  come  to  every  one,  the  heartbreaks  and  the  victories — who  has 
not  wished  to  talk  them  over  with  some  woman  who  would  be  tolerant  and  just,  sympa- 
thetic and  filled  with  human  understanding?     Here  is  the  opportunity  to  do  so. 

—  The  Editor 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


Brief  Reviews  of 
Current  Pictures 

[  CONTINUED  FROM  PAGE  1 1  ] 

HERO,  THE— Preferred  Pictures.— A  quiet,  sin- 
cere picture,  good  scenario,  diplomatic  direction  and 
one  of  the  best  casts  of  the  season,  including  the 
season's  leading  charmer,  Barbara  La  Marr.  (.March.) 

HEROES  OF  THE  STREET— Warner  Brothers. 
A  show  for  the  kids  run  by  Wesley  Barry.  Police- 
men, lights,  dogs  and  freckles.     (March.) 

HOLY  BIBLE  IN  MOTION  PICTURES,  THE— 

National  Non-Theatrical. — A  conscientious,  praise- 
worthy picturization  of  the  Old  Testament  of  educa- 
tional value,  despite  the  lack  of  inspiration,  and 
technical  blemishes.      (March.) 

HUNTING  BIG  GAME  IN  AFRICA— A  picture 
jf  hunters,  by  hunters,  for  hunters.  But  the  hunted 
;et  the  sympathy.     {March.) 

ISLE  OF  LOST  SHIPS,  THE— First  National.— 
\  fantastic  romance  of  derelicts  in  the  Sargasso  Sea, 
screened  with  imagination  by  Tourneur.     (June.) 

JAVA  HEAD — Paramount. — From  Hergesheimer's 
lovel.  Misses  much,  but,  even  so,  a  screen  drama 
veil  above  the  average.     (May.) 

JAZZMANIA — Metro. — Another  generous  help- 
ng  of  Mae  Murray  marshmallow  screen  fare.  Over 
lone  and  too  long.     (May.) 

KEEP  'EM  HOME— F.  B.  O.— Follow  the  advice 
)f  the  title  or  else  look  up  an  old  Chaplin  one-reeler. 
.March.) 

KICK  IN — Paramount. — Willard  Mack's  stage 
lrama  transferred  to  the  grandiose  settings  of  Holly- 
wood. George  Fitzmaurice  has  left  an  edge  to  the 
lrama,  but  his  New  York  sassiety  folks  are  queer 
ish  living  in  curious  aquariums.      (March.) 

KINDLED  COURAGE— Universal.— The  story 
»f  the  coward  who  becomes  regenerated.  Hoot  Gib- 
on  is  the  coward-hero.     (March.) 

LAST  HOUR,  THE— Mastodon  Films,  Inc.— 
Saved  at  the  eleventh  hour  from  the  hangman's 
loose — audience  applauding  the  hangman  and  curs- 
Dg  the  rescuers.     (March.) 

LEOPARDESS,  THE  —  Paramount  —  Montague 
jOve  tries  taming  Alice  Brady,  a  wild  gal  of  the  South 
ieas.  He  also  tries  to  tame  a  leopardess — and  gets 
amed  most  effectively.  The  leopardess  should  have 
Tided  matters  in  the  first  reel.      (June.) 

LION'S  MOUSE,  THE— Hodkinson  —  Blackmail, 
obbery,  hairbreadth  escapes,  the  papers  and  the 
mils!     But  entertaining  for  a'  that.     (June.) 

LITTLE  CHURCH  AROUND  THE  CORNER, 

l"HE — Warner  Brothers. — A  situation  after  the 
nanner  of  "The  Miracle  Man,"  with  a  wealthy  mine 
iwner,  a  mine  disaster  and  a  minister.  Interesting 
ast.     (June.) 

LOST  AND  FOUND— Goldwyn.— Hollywood 
lokum  dropped  in  the  South  Seas.  A  beautiful  back- 
;round  and  good  players  wasted.     (June.) 

LOVE  LETTER,  THE— Universal— Gladys  Wal- 
on,  cute  and  big-eyed,  and  flapperly  satisfactory, 
ust  too  sweet  for  anything.      (April.) 

MAD  LOVE — Goldwyn. — Pola  Negri's  last  picture 
n  Germany.  They  have  changed  her  many  lovers 
o  husbands  in  the  American  titles.  The  children 
hould  study  their  lessons  tonight.     (May.) 

MAKING  OF  A  MAN,  THE— Paramount.— Jack 
lolt  is  a  tight  and  conventional  millionaire  who  finds 
limself  stranded  in  New  York.  If  you  like  Jack  you 
'ou  won't  mind  being  stranded  with  him.    (March.) 

MAN  FROM  GLENGARRY,  THE— Hodkinson 
—Ralph  Connors'  erstwhile  best-seller  has  suffered 
»  the  screening,  but  the  logging  scenes  are  fine  and 
he   Canadian   landscapes   impressive.     (June.) 

M.  A.  R.  S. — Teleview.- — A  novel  effect  of  depth 
ittained  by  a  new  invention.  Otherwise  an  unin- 
eresting  dream  drama.     (March.) 

MASTERS  OF  MEN— Vitagraph.— Well-done 
tory  of  the  Spanish-American  war.  Cullen  Landis 
me.  Earle  Williams,  Alice  Calhoun  and  Wanda 
lawley  in  the  cast.     (June.) 

MIDNIGHT  GUEST,  THE  —  Universal.  —  A 
'oung  lady  thief  who  reforms.  Not  quite  for 
hildren.     (May.) 

MIGHTY  LAK'  A  ROSE— First  National.— It 
nakes  you  cry  and  that  is  about  the  highest  praise 
hat  can  be  given  any  picture — even  if  it  is  a  little 
loying  in  its  sweetness.     Worth  while.     (April.) 

MILADY — American     Releasing    Corporation. — 
Ldvertised  as  "beginning  where  'The  Three  Musket- 
left   off,"    this    French    production     is    nearer 


)umas    than    Douglas    Fairbanks. 
April.) 


Worth    while. 


A  Big 

Throbbing 

Heart 

Drama 


13 


nth  ^W 
ass.       I 


LIER  heart  pounded  so  that  she  thought  it  would  burst — throbbing  with 


love  and  with  fear.  Love  for  the  man  who  had  taken  her  first  kiss. 
Fear  that  her  new  found  love  would  be  snatched  from  her  by  the  posse 
they  had  just  sighted  riding  over  the  crest  of  the  distant  hill. 

For  Ramerrez,  her  lover,  was  an  outlaw,  a  gentleman  bandit  and  the  terror 
of  the  West.  But  Ramerrez  only  laughed  as  he  watched  the  posse  closing  in, 
although  he  well  knew  that  capture  meant  death  by  a  rope  to  the  nearest  tree. 

One  of  the  tense  situations  in  this  immortal  drama  of  the  stirring  days  of 
the  West  in  the  making  —  the  roaring  days  of  the  mining  camps  where  the 
red  blooded  men  and  women  drifted  in  from  God  knows  where.  There 
they  laughed,  gambled,  cursed,  killed,  loved  and  worked  out  their  strange 
destinies.     One  thing  is  sure.     They  lived. 

And  you  will  thrill  and  your  heart  throb  to  the  stirring  deeds  lived  over 
again  on  the  screen. 

EDWIN  CAREWE  presents 

faeGirl  of  the  Golden  West 


David  Belasco's 
Powerful 
Drama 

Watch,  for  this 


An  Edwin 
Carewe 
Production 


Trademark 


BECOME  A  PROFESSIONAL 
PHOTOGRAPHER 

EARNING  *  35  TO  $125  A  WEEK 
Three  to  six  months'  course. 
Motion  Picture,  Commercial, 
Portraiture.  Practical  instruc- 
tion. Modern  equipment. 
Ask  for  Catalog  No.  37. 
N.  Y.  INSTITUTE  of  PHOTOGRAPHY 
NEW  YORK  CHICAGO  BROOKLYN 

141  W.  36th  St.         630  S.  Wabash  Ave.  505  State  St. 


Learn  Cartooning 

At  Home— In  Your  Spare  Time 

from  the  school  that  has  trained  so 
many  successful  eartoonistsof  today 
earning  from  S50  to  S200and  morea 
week.  The  Landon  Picture  Chart 
Methodof  teaching  makes  original 
drawing  easy  to  learn.  Send  6c  in 
stampsfor  full  tnformarionand  chart 
to  test  your  ability.  Also  stale  age. 


THE  LANDON    SCHOOL 

1407  National  Bldg.,  Cleveland,   O 


J 


For  more  than  sixty  years  the  leading  American  Business  College.    Trains 
thoroly  for  Business  and  the  Civil  Service. 

There  is  no  better  time  to  prepare  for  business,  to  begin  a  course  of 
study  which  accomplishes  the  important  purpose  of  giving  a  Start  in  Life, 
than  Now.  University,  College  and  High  School  Students  should  take  one  of 
the  Summer  Courses  given  at  Eastman  College.  New  students  enroll  any 
week  day.    No  vacations. 

Intensive  professional  and  vocational  courses  in  Account- 
in",  Business,  Civil  service.  Secret  arlal  and  other  studies 
leading  to  dignified  positions,  good  salaries,  rapid  promo- 
tion, and  the  best  chance  to  use  to  advantage  an  academic 
education. 

Experienced,  efficient,  faithful  teachers.  Strong  lecture  courses.  Ideal  location.  Moderate 
expenses.    Exceptional  opportunities  for  self-help  to  young  men  and  women  of  good  char- 
acter.   If  you  want  to  be  qualified  to  command  double  the  salary  you  are  now  capable  of 
earning,  write  for  our  prospectus. 
CLEMENT  C.  GAINES,  LL.D.,  President,   Box  973,  Poughkeepsie,  N.  Y. 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


14 


Photoplay  Magazine — Advertising  Section 


CLASSIFIED    ADVERTISING 

Rate  35  cts.  per  word. 
FORMS  FOR  SEPTEMBER  ISSUE  CLOSE  JULY  TENTH 


AGENTS  AND   SALESMEN 


S60-S200  WEEK— FREE  SAMPLES  GOLD  LETTERS 
for  store  windows.  Easily  applied.  Liberal  offer  to 
general  agents.  Metallic  Letter  Co..  436  'North  Clark, 
Chicago. 

WE  START  YOU  WITHOUT  A  DOLLAR.  SOAPS. 
Extracts.  Perfumes.  Toilet  Goods.  Experience  unneces- 
sary.    Carnation  Co.,  Dept.  205.  St.   Louis. 

WE  START  YOT  IN  BUSINESS.  FURNISHING 
everything :  men  and  women.  $30.00  to  $100.00  weekly, 
operating  our  "New  System  Specialty  Candy  Factories" 
anywhere.  Opportunity  lifetime:  valuable  booklet  free. 
W.  Hlllyer  Ragsdale,  Drawer  90,  East  Orange,  New 
Jersey. 


HELP    WANTED 


WOMEN  TO  SEW.  GOODS  SENT  PREPAID  TO 
your  door:  plain  sewing:  steady  work;  no  canvassing; 
send  stamped  envelope  for  prices  paid.  Universal  Com- 
pany.   Dept.    21.    Philadelphia.   Pa. 


BIG  MONEY  AND  FAST  SALES.  EVERY  OWNEK 
buys  Gold  Initials  for  his  auto.  You  charge  $l.r>0: 
make  $1.35.  Ten  orders  daily  easy.  Write  for  par- 
ticulars and  free  samples.  American  Monogram  Co., 
Dcpt,    10'.).    East    Orange.    N.   J. 

SHOES— BECOME  OUR  LOCAL  SALESMAN  SELL- 
ing  high  grade  shoes  direct  to  wearer.  Quick  seller 
and  good  commission.  Experience  not  required.  Tan- 
ners Shoe  Mfg.    Co.,   455   C  St.,   Boston,   Mass. 

AGENTS— MEN,  WOMEN.  BIG  LINE.  BIG  PAY. 
Household  necessities.  Foods.  Extracts.  Perfumes. 
Toilet  Preparations,  Soaps,  Beverages,  Jewelry,  Novel- 
ties. Six  Bar  Assorted  Soaps  selling  like  hot  cakes. 
Get  rich.  Write  today.  Western  Products  Co.,  606 
N.    Oakley    Blvd..    Dept.    BR.    Chicago. 

AGENTS— 200%  PROFIT.  WONDERFUL  LITTLE 
article.  Something  new;  sells  like  wildfire.  Carry 
light  in  pocket.  Write  at  once  for  free  sample.  Al- 
bert Mills.  Manager,  9696  American  Building,  Cincin- 
nati.    Ohio. 

WHY"  NOT  SELL  US  TOUR  SPARE  TIME?  $1.00 
per  hour.  $9.85  daily  easy  for  full  time — introducing 
New  style  Guaranteed  Hosiery — 57  styles,  17  colors. 
No  capital  or  experience  required.  Just  write  orders. 
We  deliver  and  collect.  Tour  pay  daily,  also  monthly 
bonus.  Free  auto  offer  besides.  Complete  outfit  fur- 
nished. All  colors — grades,  including  silks.  Mac-O- 
Chee   Mills  Co..    Desk    2447,    Cincinnati,    Ohio. 

AGENTS— SELL  HOUSE  DRESSES.  BIG  DE- 
mand  now.  Retail  $2.00  each.  Cost  $12.00  dozen. 
Write  for  free  catalog  giving  complete  line  agents 
supplies.  Economy  Sales  Company,  Manufacturers, 
Dept.     163,    Boston,    Mass. 

BUSINESS    OPPORTUNITIES 


MAKE  MONET  WITH  TOUR  CAMERA.  WRITE 
Lancasta,    Box  967,   Los   Angeles. 

PHOTOS— PHOTOGRAPHY 

ENLARGEMENTS— SEND  $1.00  AND  FILM  FOR 
10x12  sepia:  water  color,  $2.80.  Any  size  roll  film  de- 
veloped and  six  gloss  prints,  25c.  Price  list  free. 
Bilger    Studio.   Dept.    O.    Freeport.    111. 

KODAK  FILMS  FINISHED.  WRITE  FOR  SAM- 
ples  and  prices.  Prager's,  38  11th  St.,  Wheeling, 
W.    Va. 

HELP    WANTED 

ALL    MEN.     WOMEN,     BOTS,     GIRLS,     17    TO     60 

willing  to  accept  Government  Positions,  $117-190,  travel- 
ing or  stationary,  write  Mr.  Ozment,  265  St.  Louis, 
Mo.,   immediately. 

BE  A  DETECTIVE:  EXCELLENT  OPPORTUNITY: 
good  pay;  travel.  Write  C.  T.  Ludwig,  367  Westover 
Bldg..  Kansas  City,  Mo. 

SELL  US  YOUR  SPARE  TIME.  TOU  CAN  EARN 
Fifteen  to  Fifty  Dollars  weekly  writing  showcards  at 
home.  No  canvassing.  Pleasant  profitable  profession, 
easily,  quickly  learned  by  our  simple  graphic  block 
system.  Artistic  ability  unnecessary.  We  instruct  you 
and  supply  work.  Wilson  Methods,  Limited,  Dept.  24, 
Toronto,   Canada. 


DETECTIVES  EARN  BIG  MONET.  EXCELLENT 
opportunity.  Experience  unnecessary.  Particulars  free. 
Write,  American  Detective  System,  1968  Broadway, 
New    Tork. 

WANTED— WOMEN— GIRLS.  LEARN       DRESS- 

making.  $35  week.  Sewing  experience  unnecessary. 
Sample  free.  Franklin  Institute,  Dept.  T-507, 
Rochester,    N.    T. 


EARN  MONET  AT  HOME  DURING  SPARE  TIME 
painting  lamp  shades,  pillow  tops  for  us.  No  can- 
vassing. Easy  and  interesting  work.  Experience  un- 
necessary.    Nileart  Company,  2220.  Ft.   Wayne,  Indiana. 

U.  S.  GOVERNMENT  WANTS  MEN— WOMEN.  IS 
lip.  $1140-^2300  year.  Steady  work.  Short  hours. 
^  acation.  Common  education  sufficient.  List  posi- 
tions, free.  Write  Franklin  Institute.  Dept.  T  135. 
Rochester,  N.  T. 

BE  A  DETECTIVE.  MEN  AND  WOMEN  NEEDED 
C.    Allen   Sherman.   1417  O  Street,   Lincoln,    Nebraska. 

PATENTS 


PATENTS.  WRITE  FOR  FREE  GUIDE  BOOK 
and  Evidence  of  Conception  Blank.  Send  model  or 
Sketch  for  opinion  of  its  patentable  nature  Highest 
Iteferences.  Prompt  Attention.  Reasonable  Terms. 
Victor  .1.    Evans   A-  Co.,   763  Ninth,  Washington,  D.   C. 


INVENTORS  DESIRING  TO  SECURE  PATENTS 
should  write  for  our  book.  "How  To  Get  Your  Patent." 
Send  model  or  sketch  of  invention  for  free  opinion  of 
patentable  nature.  Randolph  &  Co..  Dept.  462,  Wash- 
ington, D.  C. 


PATENTING  AND  COMMERCIALIZING  INYEN- 
tions  explained.  Lester  Barrett,  Master  Patent  Law, 
629    F    Street,    Washington,    D.    C. 


POEMS-VERSES 


A  $500  CASH  PRIZE  IS  OFFERED  TO  THE  WRITICR 
of  the  best  second  verse  for  our  future  song  release 
"Where  is  Your  Smile."  Those  wishing  to  compete 
may  receive  a  free  copy  of  song  and  rules  of  contest  by 
addressing  Handy  Bros.  Music  Co.,  2573  Eighth  Ave.. 
New   York. 

PHOTOPLAY   TEXT    BOOKS 


AMBITIOUS  WRITERS  SEND  TODAY  FOR  FREE 
copy  America's  leading  magazine  for  writers  of  photo- 
plays, stories,  poems.  Instructive,  helpful.  Writer's 
Digest.   611   Butler   Building,   Cincinnati. 


OF    INTEREST  TO    WOMEN 


SWITCHES  MADE  FROM  COMBINGS.  THE  NEW 
way.  Write  for  style  booklet.  Mrs.  E.  Vandervoort, 
Davenport,    Iowa. 


FOR   SALE 


HELLO  PROSPERITT.  DEARBORN  PROPERTY. 
The  Ford  Rouge-Deartorn  Plant.  Size  of  lots,  40x114 
to  47x110.  Prices  $800.00  to  $1250.00  Act  now.  J. 
A.  Van  Allen,  Sub  Agent,  133  Ford  Ave.,  Highland 
Park,   Detroit,  Mich. 


BOOKS 


LAUGHABLE  BOOKS.  "A  SOUTHERN  NEGRO 
Sermon."  original  dialect.  "Down  in  Georgia"  con- 
tains 80  original  negro  stories.  50c  eacli  postpaid. 
Sunimerville    Publishing   Co.,    Summerville,    Ga. 


DO  YOU  LIKE  TO  DRAW? 

CARTOONISTS  ARE  WELL  PAID 

We  will  not  give  you  any  grand  prize  if  you 

answer  this  ad.     Nor  will  we  claim 

to  make  you  rich  In  a  week.    But  if 

you    are    anxious    to   develop    youi 

talent  with  a  successful  cartoonist 

eo  you  can  make  money,  send  a  cop; 

of  this  picture,  with  6c  In  stamps  foi 

portfolio  of  cartoons  and  sample  lessoi 

plate,   and  let  us  explain. 

The  W.  L.  Evans   School   of  'Cartooning 

850   Leader  Bldg..   Cleveland.  O. 


■es9«%  A  DAY 

8F  -  Lk%3 Selling  Shirts 


Large  shirt  manufacturer  wants  agents 
to  sell  complete  line  of  shirts,  pajamas, 
i  and  nightshirts  direct  to  wearer.  Ad- 
Ivertised  brand —exclusive  patterns— easy 
/to  selL  No  experience  or  capital  re>- 
quired.  Entirely  new  proposition. 
Write  for  free  samptes. 
Madlion  Shirt  Co.,  603  Broadway,  N.Y-C* 


How  Many  Pounds  Would  You 
Like  to  Gain  in  a  Week? 

If  you  are  thin  and  want  to  gain  weight,  I  will  send 
you  a  sample  of  the  famous  Alexander  Vitamine3 
absolutely  Free.  Do  not  send  any  money — just  your 
name  and  address  to  Alexander  Laboratories,  3222 
Gateway  Station,  Kansas  City,  Mo. 


MUSIC  LESSONS  CIVEN 

ttiJ!.i  j i  j ■a  j  j i  j  j  j  ji 

"'       You  can  read  music  like  this  auickfy 

IN  YOUR  HOME.  Write  today  for  oar  FREE  booklet. 
It  tells  bow  to  learn  to  play  Piano,  Organ,  Violin,  Mandolin, 
Guitar,  Banjo,  etc.  Beginners  or  advanced  players.  Yonr 
only  expense  about  2c  per  day  for  music  and  postage  used. 

AMERICAN  SCHOOL  ol  MUSIC,  67  Lakeside  Bldg.,  Chicago 


Cheapest  Vay  to  Co 

Wto  work  orscbooland  recreation  ison 
a  Ranger  bicycle.  Choice  of  44  styles  and 

sizes.  oU  Days'  Free  Trial.  Express  prepaid. 

jgMonths  toPay  j( " 

easily  nir~*" 

Tires  SSI 
remarkable  i 


time  and  carfare 
easily  meets  the  small  payments. 

Parts,    equipment  —  at   half    usual 
ices. Send  no  money.  Write  for  our 
factory  prices  and  marvelous  terms. 


>  Dep«.B-40Chicago  «««  catalog 


Your  skin  can  be  quickly  cleared  of  Pimples,  Black- 
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Itch,  Eczema,  Enlarged  Pores,  Oily  or  Shiny  Skin. 
Y^nr'r1  Write  today  for  my  FREE  Booklet,  'A 
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SIOOO  Cash  says  I  can  clear  your  skin  of  the  above  blemishes. 

E. S. GIVENS.  140  Chemical  Bldg.,  Kansas  City  .Mo- 


MILLION  IN  JEWELS,  A— American  Releasing 
Corporation.— Our  old  favorite,  Helen  Holmes  tries 
to  smuggle  m  the  Russian  Crown  Jewels.  Helen 
should  be  given  a  chance  to  smuggle  herself  into  a 
good  picture.     She  would  make  good.     (April.) 

MR.  BILLINGS  SPENDS  HIS  DIME— Para- 
mount.—Is  bullet-proof  farce  and  one  of  the  best 
things  of  its  kind  in  a  long  time.  Sprightly  all  the 
way.     It  will  cheer  up  the  whole  family.     (May.) 

MODERN  MARRIAGE— American  Releasing 
Corporation.— The  team  of  Beverly  Bayne  and 
Francis  X.  Bushman  return  in  a  commonplace  story 
smoothly  screened.     (June.) 

MY  AMERICAN  WIFE— Paramount.— One  of 
those  thoroughbred  Kentucky  girls  meets  one  of  those 
handsome  Spanish-Americans.  A  weak  story  fizzed 
up  by  the  personalities  of  Gloria  Swanson  and 
Antonio  Moreno.     (March.) 

NOBODY'S  BRIDE— Universal.— A  runaway 
bride,  a  down-and-out  suitor  of  other  days,  a  bag 
of  jewels,  a  band  of  crooks,  etc.,  etc.     (June.) 

NOBODY'S  MONEY— Paramount.— Light  com- 
edy, but  very  entertaining.  Altogether  an  optically 
pleasing  picture.     (April.) 

ONE  WEEK  OF  LOVE— Selznick.— The  society 
butterfly  goes  in  search  of  thrills.  Three  bad  men 
grab  her  and  gamble  for  her.  But  of  course  she 
wins— in  the  end.  She's  Elaine  Hammerstein,  her 
prize  is  Conway  Tearle.     (March.) 

OREGON  TRAIL,  THE— Universal.— A  serial 
that  has  real  historic  value  as  well  as  drama  and  sus- 
pense. If  the  boys  don't  like  history  in  school,  take 
them  to  see  this.     (April.) 

OTHELLO — Ben  Blumenthal. — A  German  adap- 
tation of  the  British  bard's  tragedy  directed  by  a 
Russian,  in  which  Emil  Jannings  is  a  German  Moor. 

(May.) 

OUR  GANG  COMEDIES— Pathe.— One  hundred 
per  cent  kid  stuff — for  the  whole  family.  Don't  miss 
Little  Farina,  age  two,  colored.     (June.) 

PILGRIM,  THE— First  National.— Not  Chap- 
lin's best,  but  worth  anybody's  money.  The  great 
comedian  masquerading  as  a  minister.  Imagine 
that.     (April.) 

POOR  MEN'S  WIVES— Preferred  Pictures.— Not 
bad,  not  good.  Barbara  La  Marr  a  shabby,  dis- 
contented wife.     (April.) 

POP  TUTTLE,  DETEKATIVE— F.  B.  O—  Dan 

Mason  and  a  screamingly  funny  set  of  false  whiskers 
as  the  graduate  of  a  correspondence  course  in  de- 
tecting, furnishes  great  amusement.     (April.) 

POP  TUTTLE'S  POLECAT  PLOT— F.  B.  O.— 

Fashioned  after  the  Fontaine  Fox-Toonerville  Trolley 
type  of  cartoon  humor.  Manages  to  be  fairly  funny. 
(May.) 

POWER  OF  A  LIE,  THE— Universal.— David 
Torrence  does  some  fine  work  as  the  harassed  liar. 
Complications  pile  up  until  everybody  lands  in  the 
police  court.     (April.) 

PRISONER,  THE— Universal.— An  extravagant 
plot  with  Herbert  Rawlinson  as  the  heavy  lover  who 
saves  a  little  blond  from  an  unfortunate  marriage. 

(May.) 

QUEEN  OF  SIN,  THE— Not  sinful  but  awfuL 
The  queen's  sin  is  weight.     (June.) 

QUICKSANDS— American  Releasing  Corpora- 
tion.— Drug  smuggling  across  the  Mexican  border  is 
stopped  by  Lt.  Richard  Dix  and  Helene  Chadwick 
of  the  Secret  Service.     (June.) 

RACING  HEARTS— Paramount.— Unless  the 
auto  stuff  has  been  worn  threadbare  with  you.  it  may 
entertain  you.  To  us  the  motor  seems  to  miss.  (May?) 

ROBERT  BRUCE  WILDERNESS  TALES— 

Educational. — Mr.  Bruce  has  made  the  scenery,  and 
even  the  dogs,  a  background  for  wee  stories  that 
haven't  much  plot  or  conventional  punch,  but  are 
decidedly  interesting.     (April.) 

ROD  AND  GUN  SERIES— Hodkinson— The 
wealth  of  detail  and  the  excellent  photography  don't 
quite  compensate  for  the  distaste  of  such  utter 
destruction  of  ducks,  geese,  quail  and  fish.     (May.) 

SAFETY  LAST— Pathe.— Harold  Lloyd's  best- 
seven  reels  that  speed  like  two.  Prepare  for  laughter, 
shrieks  and  general  hysteria.     (June/) 

SCARLET  CAR,  THE— Universal.— A  speedy 
plot,  with  the  crooked  nominee  for  mayor  getting 
hit  where  he  deserves.     (March.) 

SCARS  OF  JEALOUSY— First  National.— See 
"Poor  Men's  Wives."     Ditto.     (May.) 

SECOND  FIDDLE — Film  Guild-Hodkinson. — 
Glenn  Hunter  playing  Glenn  Hunter  and  Mary 
Astor  playing  Mary  Astor  in  a  just  too  nice  picture. 
(March.) 


SINGLE  HANDED— Universal.— Hoot  Gibson  as 
an  eccentric  musician  who  discovers  a  buried  treasure. 
Hoot's  better  at  handling  hosses.     (Ju»e.) 


Every  advertisement  In  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


»5 


Studio  Directory 

For  the  convenience  of  our  readers 
who  may  desire  the  addresses  of  film 
companies  we  give  the  principal  active 
ones  below.  The  first  is  the  business 
office;  (s)  indicates  a  studio;  in  some 
cases  both  are  at  one  address. 

ASSOCIATED    FIRST   NATIONAL  PICTURES. 
6  West  48th  Street,  New  York  City. 

Richard  Barttielmess  Productions,  Inspiration 
Pictures.   565   Fifth  Avenue,   New   York 
City. 
Edwin  Carewe  Productions,  Associated  First 
Nat'l  Pictures,  619  Pacific  Finance  Bldg., 
Los  Angeles,  Calif. 
Allen    Holubar    Productions,    Union    League 
Bldg.,  Third  and  Hill  Streets.  Los  Angeles, 
Calif. 
Thomas  H.  Ince  Productions.  Ince  Studios, 

Culver  City.  Calif. 
John   M.   Stahl   Productions.   Mayer  Studio. 

3800  Mission  Road,  Los  Angeles.  Calif. 
Norma  and  Constance  Taimadge  Productions, 

United  Studios,  Hollywood.  Calif. 
Maurice  Tourneur  Productions,  United 

Studios.  Hollywood,  Calif. 
Laurence  Trimble-Jane  Murfln  Productions. 
Associated   First   Nat'l   Pictures.   6   West 
48th  Street.  New  York  City. 
Louis  Mayer  Productions,  3800  Mission  Road, 

Los  Angeles,  Calif. 
Richard   Walton   Tully   Productions,   United 
Studios,  Hollywood,  Calif. 
EDUCATIONAL    FILMS    CORPORATION,    370 
Seventh  Avenue,  New  York  City. 

Christie  Comedies,   Christie  Film  Co.,   Inc., 
Sunset   at   Gowe     Street,    Los    Angeles, 
Calif. 
Hamilton  Comedies,  Lloyd  Hamilton  Corp., 

5341  Melrose  Avenue,  Hollywood,  Calif. 
Mermaid  Comedies,  Jack  White  Corp.,  5341 
Melrose  Avenue,  Hollywood,  Calif. 
FAMOUS     PLAYERS-LASKY     CORPORATION 
(PARAMOUNT),  485  Fifth  Avenue,  New  York 
City. 

(s)  Paramount.    Pierce   Ave.   and   Sixth   St.. 

Long  Island  City,  N.  Y. 
(s)  Lasky,  Hollywood,  Calif. 
British  Paramount   (s)   Poole  St.,   Islington, 

N.  London,  England. 
Wm.    S.   Hart   Productions,    (s)    1215   Bates 
Street,  Hollywood,  Calif. 
FOX  FILM   CORPORATION,    (s)    10th  Ave.   and 
55th  St.,  New  York  City,    (s)     1401  N.  Western 
Ave.,  Los  Angeles,  Calif,    (s)   Rome,  Italy. 
GOLDWYN    PICTURES    CORPORATION,    469 
Fifth  Avenue.  New  York  City:  (s)  Culver  City, 
Calif.       Marshall    Neilan,   King  Vidor  Produc- 
tions and  Hugo  Ballin  Productions. 

International  Films,  Inc.  (Cosmopolitan  Pro- 
ductions), 729  Seventh  Avenue.  New  York 
City;   (s)   Second  Avenue  and   127th  St.. 
New  York  City. 
W.  W.  HODKINSON  CORPORATION,  469  Fifth 
Avenue,  New  York  City. 

MASTODON  FILMS,  INC..  C.  C.  Burr,  135  West 
44th  Street,  New  York  City;  (s)  Glendale,  Long 
Island. 
METRO  PICTURES  CORPORATION,  1540 
Broadway,  New  York  City:  (s)  Romaine  and 
Cahuenga  Avenue,  Hollywood.  Calif. 

Tiffany   Productions,    1540   Broadway,    New 

York  City. 
Buster  Keiton  Productions,  Keaton  Studio. 

1205  Lillian  Way,  Hollywood.  Calif. 

Jackie  Coogan,   United  Studios,   Hollywood, 

Calif. 

PATHE  EXCHANGE,  Pathe  Bldg.,  35  West  45th 

Street,  New  York  City;  (Associated  Exhibitors). 

Hal   E.   Roach   Studios,    Inc.,    Culver   City, 

Calif. 
Ruth  Roland  Serials,  United  Studio,  Holly- 
wood, Calif. 
PREFERRED  PICTURES,   1650  Broadway,  New 
York   City;    (s)    Mayer-Schulberg   Studio,    3800 
Mission  Road,  Los  Angeles,  Calif.    Tom  Forman, 
Victor  Schertzinger  and   Louis  J.   Gasnier  Pro- 
ductions. 
PRINCIPAL  PICTURES  CORPORATION,   1540 
Broadway,    New    York    City;    (s)    7200    Santa 
Monica  Blvd.,  Los  Angeles,  Calif. 
R-C    PICTURES    CORPORATION,    723    Seventh 
Avenue,  New  York  City;  (s)  Corner  Gower  and 
Melrose  Streets,  Hollywood,  Calif. 
ROTHACKER    FILM    MFG.    COMPANY,    1339 
Diversey  Parkway,  Chicago.  Illinois;  Rothacker- 
Aller  Laboratories,  Inc.,  Hollywood,  Calif. 

UNITED  ARTISTS  CORPORATION,  729  Seventh 
Avenue,  Ne'.v  York  City. 

George  Arliss  Productions,  Distinctive  Prod., 

366  Madison  Avenue,  New  York  City. 
Rex  Beach  Productions,  United  Artists  Corp., 

729  Seventh  Avenue,  New  York  City. 
Charlie  Chaplin  Studios,  1416  LaBrea  Ave., 

Hollywood,  Calif. 
D.     W.     Griffith     Studios,     Orienta     Point, 

Mamaroneck,  N.  Y. 
Jack  Pickford,  Mary  Plckford  Studio,  Holly- 
wood. Calif. 
Mary     Plckford     and     Douglas     Fairbanks 

Studio,  Hollywood.  Calif. 
Charles    Ray     Productions.     1428    Fleming 

Street.  Los  Angeles,  Calif. 
Mack     Sennet     Comedy     Productions,     Los 
Angeles,  Calif. 
UNIVERSAL     FILM     MFG.     COMPANY.     1600 
Broadway,  New  York  City;  (s)  Universal  City. 
Calif. 

Century  Comedies,  Circle  Blvd.,  Hollywood. 
Calif. 
VITAGRAPH    COMPANY    OF    AMERICA,     (s) 
East  15th  Street  and  Locust  Avenue,  Brooklyn, 
New  York:  (s)  1708  Taimadge  Street,  Hollywood, 
Calif. 
WARNER  BROTHERS,  1600  Broadway,  New  York 
City:  (s)  Sunset  Blvd.  at  Bronson,  Los  Angeles. 
Calif. 
WHITMAN     BENNETT     PRODUCTIONS,     537 
Rlverdale  Ave.,  Yonkers,  New  York. 


SOLOMON  IN  SOCIETY— Arrow— A  weak 
attempt  to  pull  a  Potash  and  Perlmutter.  All  the 
old  business  of  finger  bowls,  table  manners  and  dressy 
daughters.     (March.) 

SOULS  FOR  SALE— Goldwyn.— A  Cook's  tour 
of  the  Hollywood  studios.  A  false  and  trivial  story, 
but  it  takes  you  behind  the  camera  and  is  very  enter- 
taining.    (June.) 

SPEEDER,  THE— Educational.— A  Lloyd  Ham- 
ilton comedy  that  will  tickle  your  funny  bone.  There 
are  some  new  gags — and  some  good  old  ones.  (April.) 

STORMSWEPT— F.  B.  O.— Wallace  Beery  trying 
to  be  a  successor  to  Rodolph  Valentino.  Not  for 
children — and  we  are  all  children  to  a  certain  extent! 
(May.) 

SUNSHINE  TRAIL,  THE— First  National.— The 
story  of  a  nice  young  man  who  wants  to  spread  sun- 
shine everywhere  but  gets  under  a  cloud  in  his  own 
home  town.     (June.) 

SUZANNA— Allied  Producers.— Mack  Sennett 
tries  plot  instead  of  pies  without  so  much  success,  but 
Mabel  Normand  stirs  in  some  fine  humor.  A  story 
of  early  California,  missions,  peons,  Spaniards — and 
Mabel.     (June.) 

THREE  JUMPS  AHEAD— Fox— Tom  Mix  and 

his  horse  Tony  leap  a  chasm  and  give  you  an  hour 
of  Western  thrill  with  love  interest  for  dessert. 
C'mon,  Skinnay,  and  bring  the  gang!     (June.) 

THIRD  ALARM,  THE— F.  B.  O.— If  you  are  one 

of  those  people  who  always  run  to  fires,  don't  miss 
this.  Biggest  fire  of  the  season,  and  Ralph  Lewis 
the  best  fire-fighter.     (March.) 

TIGER'S  CLAW — Paramount.— Jack  Holt  goes 
to  India,  gets  bit  by  a  tiger,  married  to  half-caste, 
and  mixed  up  in  poison  plots  and  Oriental  religions. 
C/ane.) 

TILLERS  OF  THE  SOIL— Thoughtful,  but 
gloomy.  A  few  rays  of  sunlight  and  cheer  would 
help  it.     Made  in  France.     (April.) 

TOWN  SCANDAL,  THE— Universal.— Gladys 
Walton  is  a  chorus  girl  who  runs  out  of  a  job  and  goes 
home  to  write  her  memoirs  for  the  local  gazette.  Of 
course  the  poor  girl's  misunderstood.     (June.) 

TRAIL   OF  THE   LONESOME   PINE,   THE— 

Paramount. — Mountaineers,  moonshiners,  Minter 
and  Moreno.  Also  Ernest  Torrence.  The  players 
are  the  thing.     (June.) 

TRIMMED  IN  SCARLET— Universal— Char- 
acters displaying  their  lack  of  sense  in  a  way  that 
may  earn  your  pity  but  not  your  sympathy.     (June.) 

VANITY  FAIR— Goldwyn.— Hugo  Ballin's  work- 
manlike visualization  of  Thackeray's  novel.  Not 
brilliant,  but  adequate.     (June.) 

VOICE    FROM    THE    MINARET,    THE— First 

National. — A  reunion  of  Norma  Taimadge  and 
Eugene  O'Brien.  Lovely  renunciation.  Desert 
Background.     Good.     (April.) 

WAGGIN'  TALE,  A— F.  B.  O— Sbrry  to  say  that 
a  clever  dog  actor  takes  all  the  honors  away  from  the 
Carter  De  Havens.     (May.) 

WHAT  A  WIFE  LEARNED— First  National.— 
It  was  the  husband  who  learned  and  it  required  six 
reels.  You  feel  that  he  should  have  gotten  wise  in 
the  second.     How  Milton  Sills  suffers.     (April.) 

WHEN  KNIGHTS  WERE  COLD— Metro— It 
follows  the  scenery  and  action  of  "Robin  Hood"  with 
so*ne  surprising  results  and  some  not  so  surprising 
(April.) 

WHERE  THE  PAVEMENT  ENDS— Metro- 
Ramon  Novarro  (girls,  don't  miss  him)  and  Alice 
Terry  in  what  seems  to  us  Rex  Ingram's  best  picture. 
Recommended.     (May.) 

WHILE  PARIS  SLEEPS—  Hodkinson.—  You  will. 
loo.  Wouldn't  have  thought  this  of  Maurice 
Tourneur.  Better  spend  a  quiet  evening  at  home 
(April.) 

WHITE  FLOWER,  THE— Paramount— Hawaii 
and  Betty  Compson  are  alluring.  Nothing  else 
matters  if  you  like  them.     And  who  doesn't?   (June.) 

WOMAN  OF  BRONZE,  THE— Metro"— Clara 
Kimball  Young  as  the  wife,  who  after  disillusionment 
and  anguish  proves  to  be  the  ideal  woman  for  her 
husband.      (June.) 

WORLD'S  APPLAUSE,  THE— Paramount  — 
Bebe  Daniels.  Story  of  publicity  built  idol  who  gets 
involved  and  is  demolished.  She's  innocent,  of 
course.     (April.) 

WORLD'S  A  STAGE,  THE— Principal  Pictures. 
— Elinor  Glyn  paints  a  picture  of  Hollywood  that 
might  just  as  well  have  been  laid  in  any  other  small 
town.      (April.) 

YOU  ARE  GUILTY— Mastodon  Films.— Medi- 
ocrity with  a  distinguished  cast.     (June.) 

YOUR  FRIEND  AND  MINE— Metro— Really 
good,  but  slightly  silly.  The  wife  is  too  trusting,  the 
villain  is  too  bad,  and  the  ruined  girl  is  too  resigned. 
(May.) 


Could  You  Write  a 
Story  Like  This? 


Could  you  recognize  the  vital  dramatic 
situation  in  this  scene — and  write  a  scenario 
about  it  ? 

It  is  a  scene  from  the  Rex  Ingram  Pro- 
duction (Metro  Pictures  Corporation ) ,  "The 
Conquering  Power."  A  great  drama  built  up 
from  a  commonplace  story.  Situations  like 
this  are  taking  place  around  you  every  day. 
Right  in  your  own  street,  in  the  house  next 
door,  in  your  home,  a  great  drama  is  being 
lived. 

Why  can't  you  build  a  plot  around  it?  The 
successful  photodramatists  use  the  simplest 
themes;  the  biggest  pictures  are  built  around 
trivial  incidents  of  everyday  life.  The  suc- 
cessful screen  writers  are  men  and  women 
who  see  the  dramatic  value  of  everyday  oc- 
currences. A  few  years  ago  these  men  and 
women  were  receiving  ordinary  salaries  for 
doing  humble  tasks.  Now  their  incomes  are 
thousands  and  tens  of  thousands  of  dollars 
yearly. 

Not  Skilled  Writers 

Just  Ordinary 

Men  and  Women 

You  do  not  need  writing  ability.  It  is  not  hard  to 
write  a  photoplay  synopsis  when  you  understand 
the  principles  of  dramatic  construction  and  photo- 
play technique. 

If  you  want  to  writestories— if  in  your  day  dreams 
you  make  up  tales  about  yourself— you  are  creating. 
And  remember,  it  does  not  take  fine  writing,  but  just 
the  instinct  to  create  and  a  knowledge  of  photoplay 
construction.  If  you  are  ambitious,  if  you  are  really 
anxious  to  write  film  stories,  certainly  you  want  to 
find  out  just  what  advantages  and  opportunities  this 
profession  offers  you. 

Producers  Want 
Your  Stories 

They  must  have  stories.  Plots  are  the  only  thing 
the  motion  picture  industry  lacks.  All  the  leaders 
the  profession  are  demanding  plots,  looking  every- 
where for  them.  Your  opportunities  as  a  screen 
writer  in  the  opinion  of  the  film  authorities  are  fully 
explained  in  32-page,  illustrated  book,  "The  Van  Vliet 
Plan  of  Writing  for  the  Movies"  is  outlined.  The 
book  is  yours  FREE  if  you  are  interested  in  writing 
for  the  screen.  Send  the  coupon  today. 


VAN  VLIET 
INSTITUTE 


2537  So.  State  St.      Dept.  B-I25     Chicago 
^••■■••■■■•■■■^■■■■■•••■■■■■••■■•■> 

Van  Vhet  Institute 

2537  S.  State  St.  Dept.  B-125  Chicago 
Please  send  me,  without  cost  your  SZ-papre  book  telling  about 
the  Van  Vliet  Plan  of  Writing  for  the  Movies,  and  about  my 
opportunities  as  a  screen  writer.    I  understand  there  is  no 
obligation. 


Name 


Addrt  .'■■ 
City 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


i6 


Photoplay  Magazine — Advertising  Section 


dlvVbu  Skiniw/ 


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A  WONDERFUL  BOOK— read  about  it  t 
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Friendly  Advice 

[  CONTINUED  FROM  PAGE  12  ] 


S.  H. — Rhode  Island. 

It  is  sad  that  you,  an  innocent  member  of  a 
family  that  has  made  more  than  its  share  of 
mistakes,  should  have  to  suffer.  But  it  is  often 
the  case  that  the  innocent  bystander  must 
suffer.  I  can  understand  your  anguish  of  mind 
because  your  father  never  felt  for  you  the  same 
sort  of  affection  that  he  felt  for  your  brothers — 
and  the  thought  that  one  of  them,  who  had  no 
talent,  received  the  art  education  that  you  so 
longed  for,  has  made  the  situation  particularly 
hard.  Now  that  your  father  and  mother  are 
divorced  I  think  that  you  may  feel  that  it  is 
time  for  you  to  consider  your  own  life.  Do  not 
let  their  differences  weigh  down  upon  you  any 
longer.  Look  on  the  bright  side  of  the  situ- 
ation, and  try  to  find  some  way  of  carving  out 
your  own  destiny.  Vou  are  wrong  in  allowing 
yourself  to  feel  that  their  trouble  is,  in  any 
way,  a  disgrace  to  you.    It  is  not. 

E.  A.  M.— Macon,  Ga. 

As  you  are  very  tall  you  will  look  well  in 
frilly  frocks — in  panniers  and  the  modified 
hoop  skirts  that  are  so  smart  this  season.  You 
will  also  be  charming  in  the  dresses  that  are 
made  with  semi-basque  waists  and  full  skirts. 
With  brown  hair,  and  brown  eyes  you  should 
wear  rouge  in  the  Ashes  of  Rose  shade.  But, 
because  your  skin  is  very  fair  I  should  advise 
powder  in  the  tint  naturelle  instead  of  in  the 
deeper  brunette  color. 

D.  M.  D—  Kansas. 

I  am  glad,  as  you  asked  five  questions,  that 
you  listed  them  in  order.  It  makes  my  task  so 
very  much  more  simple.  I  shall  give  you 
answers,  following  the  order  in  which  you  have 
asked  my  advice. 

Because  you  are  small  and  slight  you  should 
wear  your  hair  rather  high  upon  your  head. 
And,  as  your  face  is  round,  you  should  never 
puff  it  over  the  ears.  Stillman's  Freckle  cream 
will,  I  am  sure,  do  much  toward  ridding  you  of 
freckles.  Also  Othine,  double  strength.  Your 
arms  may  be  reduced  through  exercise  and 
localized  massage. 

Your  fourth  question  is  the  most  difficult  to 
answer.  How  can  I  make  you  understand  that 
it  is  not  wrong,  in  the  real  sense  of  the  word, 
to  flirt  with  a  boy?  But  that  it  is  a  dangerous 
and  unmaidenly  thing  to  do.  Gentlewomen  do 
not  flirt — girls  with  the  right  breeding  and 
background  would  not  stoop  to  such  a  form  of 
amusement. 

The  fifth  and  last  question  is  easy.  Use 
cream  powder — never  flesh. 

M.  C,  Memphis,  Tenn. 

Bandoline  will  make  the  curl  stay  in  place 
on  your  forehead,  and  a  good  French  lip  stick 
should  have  lasting  properties.  Perhaps 
your  lips  are  chapped  and  roughened — in 
which  case  a  lip  stick  would  not  give  a  very 
attractive  effect.  A  few  applications  of 
camphor  ice  will  relieve  this  condition. 

Gloria  W.,  Minneapolis,  Minn. 

If  the  man  whom  you  think  you  care  for  has 
asked  to  call  you  "Pal"  it  may  mean  either 
nothing  or  a  great  deal.  It  may  mean  that  he 
is  letting  you  know — in  a  tactful  way — that  he 
does  not  care  for  you  in  any  but  an  impersonal 
sense.  Or  it  may  mean  that  he  feels  a  sincere 
fondness  for  you — a  fondness  that  may  ripen 
into  true  love.  You,  yourself,  should  be  a  bet- 
ter judge  of  his  meaning  than  I.  For  you  know 
what  he  says  and  how  he  says  it;  you  know  his 
expression  when  he  looks  at  you,  and  his 
apparent  interest  or  lack  of  interest!  Cer- 
tainly you  should  not  throw  away  his  friend- 
ship because  you  are  afraid  that  you  will  grow 
to  care  deeply  for  him — and  that  the  feeling 
may  not  be  returned.  Be  your  sweet,  natural 
self,  when  with  him,  and  let  events  take  their 
own  course.  If  love  is  built  upon  the  firm 
foundation  of  mutual  friendship,  a  marriage  is 
almost  bound  to  be  happy  and  successful. 

Every  advertisement  In  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Pat,  Tacoma,  Wash. 

If  you  have  a  low  forehead  and  a  straight 
nose  you  should  not  even  consider  wearing  your 
bobbed  hair  in  a  bang.  It  would  takeaway  from 
the  attractiveness  of  your  nose,  and  would  make 
your  forehead  seem  even  lower.  So,  also, 
would  a  side  parting  affect  the  shape  of  your 
face  and  the  outline  of  your  profile.  It  is  best 
to  wear  your  hair  straight  back — and,  too,  it  is 
much  more  original! 

"Blue  Eyes,"  Texas 

Do  not  think  that  you  should  sacrifice  your 
character  to  the  having  of  a  good  time.  No 
good  time  is  worth  it!  For  a  good  time  is  only 
a  passing  thing — the  joy  of  an  idle  moment. 
And  a  character  is  that  upon  which  a  whole  life 
is  built.  It  is  better  to  have  the  real  friendship 
and  respect  of  men  than  to  arouse  emotions 
that  are  not  worth-while  and  splendid.  Do  not 
worry  because  you  have  never  had  a  real  love 
affair.  You  are  only  twenty — and  twenty  is 
the  springtime  of  youth.  Time  enough  to  wait 
for  the  real  love  to  come.  Do  not  go  out  of 
your  way,  and  sacrifice  worthy  principles,  in  a 
search  for  an  imitation  of  the  real  thing! 

Anxious,  Brooklyn,  N.  Y. 

With  dark  green  eyes,  medium  brown  hair 
and  a  good  complexion  you  will  have  little 
difficulty  in  the  choosing  of  colors  to  wear  for 
afternoon  and  evening.  For  afternoon,  grey, 
blue — either  midnight  or  French — brown,  jade 
green  or  periwinkle.  For  evening  any  of  the 
pastel  shades,  bronze,  gold,  silver,  filmy  black, 
nile  green  or  flame.  Use  face  powder  in  the 
shade  "naturelle."  Your  weight,  for  five  feet, 
five  and  one-half  inches,  should  not  be  more 
than  a  hundred  and  thirty-five  pounds.  You 
should  take  measures,  at  once,  to  lose  the  sur- 
plus. 

Buddy,  Boston,  Mass. 

It  should  not  be  hard  to  gain  weight.  There 
are  so  many  ways.  First  of  all,  if  it  will  agree 
with  you,  a  milk  diet.  Drink  plenty  of  cream, 
too.  Perhaps  two  quarts  of  milk  and  one-half 
pint  of  cream  a  day.  Massage  your  neck  and 
shoulders  with  a  good  tissue  building  cream. 
Your  local  department  stores  will  carry  a  fine 
variety  of  such  creams  in  their  toilet  goods 
departments. 

Louise  L.,  Chicago,  III. 

Of  course  it  is  hard  to  see  the  man  you  love 
marry  another  girl.  But  you  can  hardly  blame 
the  man  as  he  did  not  know  of  your  love — and 
had,  in  fact,  never  displayed  any  sign  of  affec- 
tion toward  you.  You  are  wrong  to  feel  an 
intense  dislike  of  the  other  girl — a  dislike  which 
you  say  nearly  amounts  to  hatred.  For  it  is 
not  her  fault,  either.  She  merely  took  a  love 
that  was  honestly  offered,  with  no  thought  of 
hurting  anyone  else. 

The  really  unfortunate  phase  of  the  whole 
affair  is  that  you  work  in  the  same  office  with 
the  man  in  question.  Wouldn't  it  be  better, 
under  the  circumstances,  to  look  for  a  new 
position?  Surely,  in  a  large  city,  there  are 
many  openings  for  efficient  private  secretaries. 
Away  from  this  man,  who  is  a  constant  re- 
minder of  your  unhappiness,  you  will  gain  a 
new  outlook  upon  life. 

C  A.  Smith,  Canada 

Yes,  indeed — one  hundred  and  twenty-five 
pounds  is  a  great  weight  for  a  girl  who  is  only 
five  feet  tall.  You  are  almost  twenty  pounds 
too  heavy.  Strenuous  exercise,  and  attention 
to  your  diet,  are  the  only  methods  that  will 
help.  The  Wallace  system — that  teaches  one 
to  lose  weight  pleasantly,  to  music — is  health- 
ful and  easy.  Also  take  cold  baths  and  walk 
vigorously  and — as  nearly  as  possible — elim- 
inate sugars,  starches  and  fats  from  your  menu. 
At  your  age  it  should  be  easy  to  get  rid  of  the 
surplus  pounds — don't  wait  until  you  are 
older;  for  the  older  you  are  the  harder  it  is  to 
lose  weight! 


Photoplay  Magazine — Advertising  Section 


l7 


Millions  and  Movies 


THROUGH  the  medium  of  slender  strips  of  celluloid,  an 
actor  appears  simultaneously  on  thousands  of  screens 
in  as  many  different  towns.  On  the  same  evening,  he  enter- 
tains great  armies  of  film  fans  who  eagerly  pay  their  money 
to  see  his  performance. 

So  the  movie  star  commands  a  king's  ransom  for  a 
salary,  and  a  fortune  is  spent  profitably  to  provide  a  proper 
background  for  his  art.  The  movie  multiplies  personality 
— and  earning  power. 

Advertising  does  the  same  thing  for  a  manufacturer.  It 
takes  his  message  into  thousands  of  homes — to  tell  folks 
why  they  should  have  his  goods  and  how  to  get  them. 
Advertising  endows  him  with  a  thousand  voices  with  which 
to  tell  his  story. 

But  the  value  of  advertising  is  by  no  means  confined  to 
the  advertiser.     It  has  a  very  definite  value  to  you. 

A  glance  through  the  advertising  pages  enables  you  to 
sift  out  the  things  that  interest  you.  Sitting  in  your  easy 
chair,  you  can  compare  values  and  prices.  You  can  select 
merchandise  of  indisputed  worth — for  only  good  goods  can 
stand  the  test  of  advertising. 

Yes,  advertising  pays  you,  and  pays  you  big. 


Read  the  advertisements 


When  you  write  to  advertisers  please  mention  PITOTOPLAY  MAGAZINE. 


i8 


Photoplay  Magazine — Advertising  Section 


^Conspicuous  nose  pores  grow 
larger  if  neglected" 


You  cannot  conceal 

Conspicuous  nose  pores 

but  you  can  reduce  them 


"A  Skin  You  Love 
to  Touch" 


DVd  special  treatment  you  can  reduce 
1-*  conspicuous  nose  pores. 

On  your  face  the  pores  are  larger 
than  on  other  parts  or  the  body.  On 
the  nose,  especially,  there  are  more  fat 
glands  than  elsewhere. 

Unless  your  skin  is  in  an  active  con' 
dition,  the  fat  sometimes  accumulates 
and  hardens  in  these  glands,  with  the 
result  that  the  pores  become  enlarged. 

Don't  let  your  skin  suffer  from  this 
very  noticeable  fault.  Begin  tonight  to 
use  the  following  treatment,  and  see 
what  a  simple  thing  it  is  to  correct 
this  trouble. 

WRING  a  cloth  from  very  hot 
water,  lather  it  with  Woodbury's 
Facial  Soap,  then  hold  it  to  your  face. 
When  the  heat  has  expanded  the  pores, 
rub  in  very  gently  a  fresh  lather  of 
Woodbury's.  Repeat  this  hot  water 
and  lather  application  several  times, 
stopping  at  once  if  your  nose  feels  sensitive- 
Then  finish  by  rubbing  your  nose  for 
a  few  seconds  with  a  piece  of  ice. 

Supplement  this  treatment  with  the 
regular  daily  use  of  Woodbury's  Facial 
Soap.  Before  long  you  will  see  how 
this  treatment  gradually  reduces  the  en- 
larged pores  until  they  are  inconspicuous. 

There  is  a  special  Woodbury  treat- 
ment for  each  type  of  skin 

The  treatment  given  above  is  only  one 
of  the  famous  skin  treatments  contained 


in  the  booklet  "A  Skin  You  Love  to 
Touch,"  which  is  wrapped  around  every 
cake  of  Woodbury's  Facial  Soap. 

Get  a  cake  of  Woodbury's  today,  and 
in  the  booklet  wrapped  around  it,  find 
the  right  treatment  for  your  skin.  Begin 
using  it  tonight!  Within  a  week  or 
ten  days  you  will  notice  the  difference 
it  makes — the  new  brilliance  and  love 
liness  it  gives  your  complexion. 

The  same  qualities  that  give  Wood- 
bury's its  beneficial  effect  in  overcoming 
common  skin  troubles  make  it  ideal  for 
regular  toilet  use.  A  25-cent  cake  lasts 
a  month  or  six  weeks.  Woodbury's 
also  comes  in  convenient  3 -cake  boxes. 

Three  Woodbury  skin  preparations — 
guest  size — for  10  cents 

THE  ANDREW  JERGENS  CO., 

507  Spring  Gtove  Ave.,  Cincinnati,  Ohio 

For  the  enclosed  10  cents — Please  send  me 
a  miniature  set  of  the  Woodbury  skin 
preparations,  containing 

A  trial  size  cake  of  Woodbury's  Facial  Soap 
A  sample  tube  of  the  new  Woodbury's  Facial  Cteam 
A  sample  box  of  Woodbury's  Facial  Powder 
Together  with  the  treatment  booklet,  "A  Skin  You  Love 
to  Touch. " 

If  you  live  in  Canada,  address  The  Andrew  Jergens 
Co.,  L-mited,  507  Sherbroolce  Street,  Perth,  Ontario. 
English  Agentt:  H.  C.  Quelch  6c  Co.,  4  Ludgate  Square, 
London,  E.  C.  4. 

Name 

Street 

City State 

Cut  out  this  coupon  and  send  it  to  us  today 


Copyright.  IMS,  by  The  Andrew  Jergens  Co. 


Every  advertisement  ill  PHOTOPLAY  MAGAZINE  is  guaranteed. 


New 

Pietarei 


T^VER  since  his  Rupert  of 
*-~*  Hentzau  brought  him  into 
the  lenslight  in  "The  Prisoner 
of  Zenda,"  Ramon  Novarro 
has  been  a  storm  center  of 
debate.  Is  he  or  isn't  he  a 
big  find?  His  pagan  Mo- 
tauri  in  "Where  the  Pavement 
Ends"  is  a  definite  affirma- 
tive answer,   it  seems  to  us 


1  1 

1 

m 
m 


Ira  Hill 


Monroe 


Tl/'E  can  still  recall  the  luxurious  Bebe  Daniels  opposite  Harold  Lloyd.    Those 

*  '  were  the   days!     Ever   since    Bebe   became   a   dramatic   star,    after   doing 

Vice  in  "Every woman,"  we  have  conceded  her  our   most    decorative  actress 


Hesse  r 


A/f  ADGE  BELLAMY  was  recently  selected  by  an  authprity  as  the  ideal 
1V1  Watteau  flapper  type —  i.e.,  the  Dresden  china  cutie  de  luxe.  The  daugh- 
ter of  a  Texas  professor  of  English,  Miss  Bellamy  came  to  films  via  the  stage 


Ricbee 


WARREN  KERRIGAN  has  returned  to  the  screen  and  the  popular  star 
°  •  of  the  old  "Flying  A"  days  has  found  he  isn't  forgotten.  The  handsome 
Kentuckian  is  still  as  much  an  idol  as  when  he  made  his  film  debut  back  in  1910 


Hartsook 


XTOUSE  PETERS  is  one  of  the  substantial  actors  of  the  screen.  Peters  is 
■*■  ■*■  also  a  Kentuckian  and  he  has  been  in  pictures  for  a  long  time.  His  scrap- 
book  of  dramatic  work  before  that  time  reads  like  a  Cook's  tour  of  the  world 


Freulich 


"DATSY  RUTH  MILLER  is  almost  nineteen.  Coming  from  St.  Louis,  she 
-■■  made  her  debut  in  Nazimova's  dramatic  close-up,  "Camille."  Miss  Miller 
is  one  of  the  few  film  flappers  who  didn't  arrive  via  bathing  girl  comedies 


Hosser 


GLORIA  SWANSON  apparently  intends  to  follow  in  the  emotional  footsteps 
of  Pauline  Frederick.     "Zaza"  will  be  one  of  the  first  steps.     Thus  doth 
the  piquant  bathing  girl  of  yesterday  become  the  film    tragedienne  of  today 


^Risk  ^Precious  Silks  ? 

v9\o  -  if  you  first  consider  this  safety  test 


A  War-bride's  Wedding  Thess 
Washed  ii)  Times! 

In  February,  1918,  a  North  Carolina  girl 
was  married  to  a  soldier.  She  wore  the 
charming  white  embroidered  crepe  de 
chine  dress  pictured  here.  Since  that  day, 
she  assures  us  that  the  dress  has  been 
washed  at  least  1 15  times — probably 
more — with  Ivory  Flakes. 
"I  did  it  each  time  myself,"  says  the 
owner's  letter.  "I  never  let  it  get  very 
badly  soiled."  It  is  still  beautifully  white 
— eloquent  testimony  to  the  mildness  and 
purity  of  Ivory  Flake*. 

(Dress  and  owner's  letter  on  file 
in  the  Procter  tc Gamble  offices.) 


Experience  is  a  good  but 
often  costly  teacher. 

It  is  not  necessary  actually 
to  imperil  a  precious  silk 
garment  by  washing  it  with 
a  soap  whose  safety  you 
doubt. 

No!  Here  is  a  soap-test — 
simple  as  adding  one  plus 
one,  yet  equally  conclusive. 
This  test  will  prove  a  soap's 
safety  without  endangering 
your  most  precious  garment 
for  an  instant. 

Here  is  the  test: 

Ask  yourself: 

"Would  I  be  willing  to  use 
the  soap  on  my  face? " 

Yes,  if  it  is  Ivory  Flakes.  For 
Ivory  Flakes  is  Ivory  Soap, 
flaked  for  instant  washbowl 
suds — pure,  mild,  gentle, 
white  and  harmless  as  pure 


water  itself— the  same  soap 
that  has  befriended  women's 
complexions    for    44  years. 

Above  and  beyond  other 
soaps  offered  for  delicate 
garments,  Ivory  Flakes  has 
therefore  a  real  margin  of 
safety — safety  that  means 
life  itself  to  the  very  most 
delicate  garments  you  own. 
Yet  Ivory  Flakes  is  econom- 
ical enough  for  the  heavier 
things  that  deserve  good 
care. 

It  will  give  us  great  pleasure 
to  send  you  a  sample  of 
Ivory  Flakes  and  a  copy  of 
our  booklet,  "The  Care  of 
Lovely  Garments."  Please 
read  the  offer  below. 

The  full-size  package  of 
Ivory  Flakes  may  be  had 
at  grocery  and  department 
stores. 


Copyright  1»23.  by  Th«  FrocUr  *  U«mbl«  Co..  Cincinnati 


Volume  XXIV 


The  aHational  Cjuide  to  SMotion  Pictures 


Number  Two 


PHOTOPLAY 


July,  1923 


Speaking  of  Pictures 


By  James  R.  Quirk 


PLAYERS  unfettered  by  contracts  are  making  hay  in 
Hollywood  this  year.  A  leading  man  who  starred  last  year 
at  a  salary  of  twelve  hundred  a  week  is  now  playing  in  sup- 
porting roles  at  a  salary  of  twenty-eight  hundred  per  week. 
There  are  some  instances  where  every  member  of  the  cast 
receives  a  higher  salary  than  the  star,  because  they  are  free- 
lancing and  the  star  is  under  contract. 

The  reason  for  this,  of  course,  is  prodigious  increase  in 
production  activity  without  a  corresponding  increase  in  supply 
of  reliable  talent.  Not  many  directors  will  take  a  chance  on  a 
novice  in  a  good  role.  Only  a  few  have  the  time  for  developing 
beginners.  Therefore  the  players  with  names  can  dictate  their 
terms,  and  some  are  in  such  demand  that  they  can  play  in  two 
jor  three  or,  in  one  case,  in  four  pictures  simultaneously. 

Will  this  state  of  affairs  continue?  It  will  unless  there  is  a 
marked  decrease  of  activity.  Producers  must  take  the  time 
to  find  and  develop  new  talent,  not  only  to  keep  salaries  within 
bounds  of  reason  but  to  give  variety  of  personalities  to  the  screen. 

Will  the  screen  world  never  learn  its  lesson? 

When  the  depression  of  a  year  or  so  ago  came,  all  celluloidia 
declared  that  there  would  be  a  complete  house-cleaning.  The 
collapse  of  colossal  salaries  meant  that  filmdom  must  get  rid 
of  its  dead  wood.     The  handwriting  on  the  wall  was  obvious. 

But  that  was  over  a  year  ago.  From  all  indications,  the 
salaries  of  players  and  directors  are  climbing  back  to  impossible 
proportions.  The  screen  world  has  forgotten  all  about  the 
depression.  The  old,  old  stories  of  fortunes  spent  upon  a 
single  set  are  with  us  again. 

WHILE  we're  on  the  subject  of  business  reforms,  what  is  to 
be  said  of  the  present  method  of  exploiting  special 
features? 

Let  us  consider  "The  Covered  Wagon"  as  an  instance  in 
point.  The  merits  of  this  historic  production  are  obvious.  It 
made  a  tremendous  hit  in  New  York  and  Los  Angeles.  But, 
when  it  tried  Chicago,  the  reception  was  lukewarm.  This 
sort  of  thing  is  duplicated  almost  every  week  in  Chicago  and 
other  cities. 

The  trouble  is  deep  seated.  Producers  announced  their 
features  for  special  runs,  promising  that  they  will  not  be  shown 
for  a  lesser  admission  price  within  a  long  period.  Then  the 
same  features  play  a  regular  screen  theater,  at  the  usual  scale 
of  prices,  a  few  weeks  later. 

You  can't  fool  all  the  people,  all  the  time.  Hence  good 
specials  must  suffer  along  with  the  bad  ones. 

WHAT  are  the  chances  of  a  beginner  in  pictures  today? 
That  question  has  been  fired  at  Photoplay  so  much 
recently  that  we  decided  to  answer  it  authoritatively.  •  Who 
know  better  than  the  casting  directors,  the  men  who  pass 
upon  the  merits  of  the  actors  for  the  different  roles  of  a  picture? 
Next  month  we  shall  give  their  answers. 


WE  cannot  help  but^wonder  if  the  sort  of  thing  Lon  Chaney 
is  doing  in  "The  Hunchback  of  Notre  Dame"  is  neces- 
sary and  if  the  public  in  general  demands  it. 

Chaney,  who,  of  course,  plays  the  role  of  the  Hunchback, 
takes  three  hours  to  put  on  the  contrivances,  straps  and  braces 
to  contort  his  body  to  the  deformity  of  the  part.  These  straps 
are  so  violent  and  cause  him  such  pain  that  it  is  necessary  for 
him  to  be  carried  to  the  set  on  a  litter.  Once  there,  he  can 
work  only  seven  minutes  at  a  time,  and  only  an  hour  altogether. 
One  day  he  fainted  or  collapsed  several  times,  and  large  fans, 
water  and  restoratives  were  kept  continually  on  hand. 

After  the  day's  work,  Chaney  emerges  worn  and  lined,  his 
face  a  veritable  mask  of  pain  and  anguish. 

Art  is  a  wonderful  thing,  but,  after  all,  illusion  is  all  the 
audience  desires.  The  illusion  of  a  hunchback  has  been 
achieved  by  such  artists  as  Jack  Barrymore  in  "Richard  the 
Third,"  by  Harry  Mestayer  as  Louis  Eleventh,  by  many  actors 
as  Pierre  in  the  "Two  Orphans,"  without  endangering 
health  and  enduring  such  tortures  as  Chaney  puts  himself  to. 
In  "The  Penalty,"  it  was  necessary  for  him  to  go  to.  such 
lengths  as  the  legless  beggar,  but  somehow  we  have  the  feeling 
that  he  is  carrying  his  fetish  for  realism  in  make-up  a  bit  too 
far  in  this  instance  and  that  as  a  public,  we  don't  wish  to  be 
responsible  for  such  things  inflicted  upon  those  who  entertain 


THE  Illinois  censorship  board  has  a  regulation  which  forbids 
a  picture  to  use  the  word  "sin  "in  a  sub-title.  Consequently, 
when  some  production  recently  flashed  the  quotation,  "Let 
him  who  is  without  sin  cast  the  first  stone,"  Illinois  decreed  it 
must  be  cut. 

The  mere  fact  that  the  Nazarene  first  said  it,  couldn't  save 
it,  of  course. 

THE  record-breaking  success  of  the  wild  animal  pictures 
may  have  induced  Goldwyn  to  purchase  Hergesheimer's 
story,  "Wild  Oranges."  If  they  like  the  animals  wild,  why 
not  wild  fruit? 

THE  films  are  recruiting  from  the  fashionable  New  York 
younger  set  with  catching  rapidity. 

Park  Benjamin  2nd,  son  of  Mr.  and  Mrs.  Walter  Benjamin, 
and  Amos  Tuck  French,  son  of  Mr.  and  Mrs.  Amos  Tuck 
French,  are  the  latest  to  join  up.  They  are  playing  minor 
roles  in  "Under  the  Red  Robe,"  a  Cosmopolitan  production. 

Craig  Biddle,  Jr.,  is  making  rapid  progress  in  Hollywood, 
and  J.  Borden  Harriman,  son  Of  the  railroad  magnate,  is 
playing  under  a  fictitious  name,  wishing  to  make  good  without 
the  aid  of  family  name. 

For  the  first  time  in  the  history  of  the  industry  stars  are 
playing  up  to  the  extras.  These  young  millionaires  are 
democratizing  the  business. 

<j>-y 


The  first  published  "still"  of  Mary  Pickford  as  little  Rosita,  the  street  singer,  in  her  new  dramatic  romance  of 

Spain  in  the  Nineteenth  Century 


This  set,  showing  a  street  of  Toledo,  is  a  novel  one.  That  part  of  the  city,  apparently 
on  the  hill  in  the  distance,  was  built  on  the  top  of  the  Pickford-Fairbanks  stage,  exactly 
300  yards  from  the  foreground.    All  of  which  proves  you  can't  always  believe  the  camera 


Pickford' 

New 

Picture 


MARY  PICKFORD  fans— 
and  their  name  is  legion — 
are  awaiting  with  unusual  in- 
terest her  first  production 
made  under  the  supervision  of 
the  German  director,  Ernst 
Lubitsch.  Will  it  reveal  a  new 
Mary?  We  shall  see.  The  pic- 
ture, which  is  a  Spanish  tale  of 
old  Toledo,  will  carry  the  title 
of  "The  Street  Singer."  This 
is  the  production  which  was 
substituted  for  "Faust." 


Odd  Folks 

of  Hollywood 

By  Helen  Carlisle 


The  California  City  of  a  Thousand 
and  One  Adventures  has  many 
strange  people — but  none  stranger 
than  those  told  about  in  this  article. 
Each  story  is  a  veritable  bit  of  life, 
for  Hollywood  has  many  quaint 
children 


"Appetite  Bill" 
holds  his  place  in 
movieland  through 
two  accomplish- 
ments: he  can  eat 
nine  pies  at  a  sit- 
ting and  he  can 
"lean  on  air," 
thereby  apparently 
defying  the  law  of 
gravitation 


As  long  as  scenario 
writers  put  scrub 
women  in  their 
scripts,  Mary  will 
work  in  pictures. 
She  takes  her  work 
seriously  and  has 
made  scrubbing  a 
fine  art — and  what 
more  can  be  ex- 
pected of  anyone? 


Kalo  is  the  son  of  a  Chinese  mandarin.  But  the  demand  for  mandarins  in  Holly- 
wood is  slight  and  Kalo  is  now  an  assistant  cameraman  at  Lasky's.  Here  Kalo  is 
pictured  playing  a  small  role  with  Lila  Lee,  James  Kirkwood  and  Jacqueline  Logan 


HE  eats  pies.  Well,  you  say,  what  of  it?  So  do  we 
all.  Ah — but  note  the  plural — for  there's  the  gag,  as 
they  say  in  the  comedy  studios. 
"Appetite  Bill"  can  eat  nine  pies  at  one  sitting. 
He  won  his  title  doing  just  that.  Then  he  looked  in  the  mirror 
and  decided  that  anyone  as  queer  as  himself  oughta  go  into 
the  movies. 

Bill  has  another  accomplishment  too.  He  can  "lean  on  air." 
The  law  of  gravity  means  nothing  in  his  life.  Feet  firmly 
planted  on  the  ground,  Bill  can  do  circles  around  any  Leaning 
Tower  you  ever  .saw.  From  pies  to  Pisa  as  it  were.  (If  that 
pun  gets  by  my  editor,  I'll  promise  not  to  spring  another  in 
six  months.) 

Whenever  an  eating  scene  is  to  be  filmed,  Bill  is  always 
called,  and  his  unique  qualifications  as  a  leaner  gain  him  con- 
siderable work  with  the  comedy  companies. 

He  is  just  one  of  the  odd,  interesting  characters  drifting  up 
and  down  the  Boulevard,  caught  and  held  by  the  lure  of  the 


cinema.  Where  do  they  come  from?  Where  do  they  go? 
Hollywood  doesn't  know,  nor  greatly  care.  For  a  moment 
they  are  here,  brisk  and  important  if  they  have  landed  a  job 
for  a  week  or  two — gamely  courageous  when  the  "No  Casting" 
sign  orders  them  from  one  studio  and  another. 

CONSIDER  Profulla  Kumar  Ghosal,  a  Hindu  and  a  Brah- 
min. Back  in  Calcutta,  Kumar  in  company  with  other 
university  students  dropped  into  the  local  cinema  theater 
quite  frequently.  One  night  he  saw  a  sight  on  the  screen 
which  pained  him  considerably. 

An  East  Indian  drama,  turned  out  in  Hollywood's  niftiest 
style. 

Within  a  week  Kumar  had  packed  his  turbans  and  started 
for  Hollywood,  to  teach  its  uncouth  directors  the  difference 
between  the  Maharajah  and  the  Mahabharata. 

Hollywood  didn't  send  the  brass  band  down  to  meet  Kumar. 
Studio  officials  seemed  unimpressed  with  his  qualifications  as  a 


"Beach  Pete,"  gentleman  beach- 
comber, is  a  type  always  in  demand 
in  Hollywood.  He  is  pictured  above 
with  Nila  Naldi  and  Lewis  Stone 


©  Evans 


Profulla  Kumar  Ghosal,  a  Hindu  and  a 

Brahmin,  who  plays  Orientals,  Mexicans 

and  Italians  when  East  Indians  aren't 

in  demand 


covery  that  the  demand  for  full  beards  ex- 
ceeded the  demand  for  full  dress,  so  he  grew 
a  mighty  beard  and  he  never  shaves  it  off. 
Wherever  Rough  Men  of  the  Great  Out- 
doors are  gathered  together  (in  front  of  the 
camera)  there  you  will  find  Higgins,  and 
with  his  beard  and  his  brain  working  for 
him  in  this  quaint  manner,  he  makes  lots 
more  money  than  he  ever  did  as  a  sleek 
juvenile  extra  man. 


Peter  the  Hermit 
is  a  bareheaded, 
barefooted  extra, 
who  comes  to 
Hollywood  now 
and  then  from 
some  mysterious 
cave  in  the  hills  to 
play  temporarily 
as  an  extra 


technical  director.  The  standard  recipe  for  making  those  jolly 
Hindu  mystery  dramas  called  for  one  crystal  gazing-ball,  six 
daggers,  turbans  all  'round  and  rent  as  many  Buddhas  as  you 
can  from  the  House  of  Props  down  on  Spring  Street. 

But  Kumar  isn't  discouraged — yet.  If  a  technical  director 
can't  tech,  he  can  act.  So  when  a  call  goes  out  for  Chinese, 
Japanese,  Mexican  or  Italian  types,  the  young  Hindu  lines  up 
for  his  seven-fifty  check.  And  the  Taj  Mahal  stands  unat- 
tended on  studio  lots,  and  doubles  for  New  York  subway 
stations,  without  protest  from  Kumar. 

AMONG  the  unique  of  the  Boulevard  stands  V.  Higgins. 
His  is  the  story  of  an  amazing  sacrifice — the  sacrifice  of 
his  youth  to  the  needs  of  the  camera. 

Higgins  is  twenty-four  years  old,  but  one  would  think  him 
forty.  He  came  to  Hollywood,  determined  to  become  an  actor. 
When  he  discovered  that  he  had  nothing  in  common  with 
Valentino  excepting  an  initial,  V.  Higgins,  though  somewhat 
dashed,  refused  to  be  downed.     He  made  the  interesting  dis- 


I  REALLY  do  feel  like  rising  in  protest  against  "Beach  Pete" 
though.  I've  always  visioned  beachcombers  as  romantic 
gentlemen  who  roam  the  beaches  of  the  South  Sea  Isles,  with 
those  yellow  Hawaiian  things  around  their  necks  and  in  their 
hearts  a  preference  for  three  stars  on  a  bottle  over  forty-eight 
on  a  flag. 

But  "Beach  Pete,"  world's  champion  beachcomber,  who  has 
trod  the  shores  of  all  continents  and  waded  in  the  waters  of 
all  oceans,  has  destroyed  my  illusions. 

He  wandered  into  Hollywood  recently  to  show  those  Bird  of 
Paradise  beachcombers  of  the  movies  just  What  the  Well 
Dressed  Beachcomber  Will  Wear  This  Season.  And  the  magic 
pronouncement,  "He's  a  type,"  opened  the  studio  gates  to 
"Beach  Pete"  and  now  he  chums  around  with  such  celebs  as 
Lewis  Stone  and  Nita  Naldi. 

When  I  asked  him  if  he  knew  "Aloha  Op,"  he  said,  "No, 
but  I've  met  Gloria  Swanson."  It  doesn't  seem  quite  right, 
does  it? 

AND  the  ladies  of  the  studios,  bless  'em.  They're  not  all 
blonde  young  beauties  worrying  their  hair  back  to  its 
natural  color,  wondering  just  How  Much  the  Woman  Has  to 
Pay. 

No,  indeed.  There's  Mary,  for  instance,  who  is  always  so 
in  demand  for  "scrub-lady"  roles.  Mary  has  made  of  flooi 
scrubbing  a  fine  art,  whether  from  long  practice  before  she 
attached  herself  to  George  Melford's  company  up  in  San  Fran- 
cisco one  time,  or  by  right  of  inheritance,  she  will  not  say. 
No  ingenue  takes  her  work  more  seriously  than  does  Mary, 
and  she  cheerfully  wades  through  buckets  of  soapsuds  in  quest 
of  that  priceless  boon,  a  close-up! 


John  Holmes  Howell  is  a  former  footman  to  his  grace,  the 
Duke  of  Connaught.  Now  he  is  a  great  help  to  directors 
when  filming  the  right  thing  in  British  society  drama. 
Above,  Mrs.  Trebaol  and  her  thirteen  children,  every  one 
working  in  the  films — when  conditions  are  good.  Any 
director  can  take  his  choice 


Now  every  director  in  Hollywood  knows  that  he  can  get  a 
trained  Trebaol  of  either  sex  and  of  any  size  or  complexion 
desired,  at  an  hour's  notice.  Who  knows  but  that  the  family 
ranks  may  disclose  a  Jackie  Coogan,  a  Wesley  Barry  or — 
mayhap — a  Mary  Pickford  some  day? 

IN  a  canvass  of  the  studios  for  unique  types,  though,  I 
found  as  a  rule  the  male  of  the  species  more  interesting  copy 
than  the  female.     Which  brings  us  neatly  to  Kalo. 

Kalo  is  the  son  of  a  Chinese  mandarin.  I  don't  know  much 
about  mandarins.  The  dictionary  suggests  as  a  possible  defini- 
tion: "Mandarin — An  Asiatic  duck."  Whatever  his  father 
was,  Kalo  decided  that  life  in  Pekin  cramped  his  style  quite 
a  bit.  Like  Kumar,  he  felt  that  Hollywood  needed  him,  and 
he  responded  like  a  man. 

When  he  arrived  he  found  the  cinema  city  tottering  along 
reasonably  well  without  assistance  from  him.  The  demand 
for  mandarins'  sons  was  really  very  low.  But  Kalo  was  wise 
enough  to  know  that  there  are  two  sides  to  every  camera.  If 
he  couldn't  succeed  before  it,  he  would  behind  it.  So  he's 
now  an  assistant  cameraman  at  Lasky's  and  yells  "Hit  the 
nigger"  and  "Save  the   baby"   with   Hollywood's   finest. 

A  QUIET  little  gray  man,  John  Holmes  Howell,  former 
footman  to  his  grace,  the  Duke  of  Connaught,  now  first 
aid  to  Hollywood  royalty.  What  are  movie  queens  in  his  life, 
when  he  has  danced  with  Queen  Victoria  and  Queen  Mary — 
at  the  annual  servants'  ball  at  Balmoral  Castle? 

Howell  came  to  this  country  to  make  his  fortune.  He  drifted 
out  to  Hollywood,  and  tried  to  persuade  the  directors  that  as 
a  footman  he  was  a  fine  actor.  Hollywood  left  him  on  the 
extras'  bench,  to  dream  of  the  good  old  days  with  'is  grace. 

Then  one  of  those  clubby  old  plots,  all  about  the  intimate 
home  life  of  the  dear  British  royalty,  was  wished  on  a  director 
who  didn't  know  whether  to  put  the  king  in  gilt  braid  or  a 
dinner  jacket.  "H'l  would  suggest  tweeds,  sir,"  voiced 
Howell  from  the  extras'  bench,  and  he  has  been  suggesting 
and  advising  ever  since.     Our  Queens  of  Jazzmania  and  Prin- 


V.  Higgins  is 

just  twenty- 
four,  although 
he  looks  forty. 
Higgins  works 
steadily  in  pic- 
tures, due  en- 
tirely to  his 
superb 
whiskers. 
When  the  script 
calls  for  a  scene 
located  in  the 
Great  Outdoors, 
where  Men  are 
Men,  they  send 
for  Higgins 


cesses  of  Graustark  act  out  in  the  very  best  British  manner 
now,   thanks  to  'isgrace's  footman. 

BUT  reigning  over  all  the  strange  drifters  of  the  Boulevard, 
staff  in  hand,  bareheaded,  barefooted,  stands  Peter  the 
Hermit.  He  lives  alone  up  in  the  hills — just  where  no  one 
knows.  But  every  day  he  trudges  down  the  dusty  road  into 
the  studio  town. 

Thoughts  of  the  world  and  the  flesh  concern  Peter  but 
little — though  occasionally  when  pressed  for  funds  he  works  in 
mob  scenes,  preaching  his  beliefs  in  a  loud  voice  as  he  does  so, 
and  quite  frankly  elated  that  his  audience  can  not  arise  and 
leave  him,  as  one  man. 

I  have  seen  him  block  traffic  in  Hollywood's  busiest  cor- 
ner, putting  his  old  lop-eared  donkey  through  its  tricks. 
But  there  was  no  impatient  honking  of  horns,  no  frowns,  no 
harsh  words  for  Peter  the  Hermit. 

For  Hollywood  has  mothered  many  strange  children,  at 
one  time  and  another. 


Q1 


House 

of 

"Kikr 


Lenore  Ulrich  has  closed  her  two  year 
Broadway  run  as  the  piquant  Parisian 
gamin  of  "Kiki"  to  return  once  more  to 
motion  pictures.  At  the  same  time  she 
closed  her  New  York  apartment,  here- 
with pictured.  Above  is  Miss  Ulrich' s 
Ik  j  in  loir,  with  walls  painted  and  glazed 
in  an  unusual  dove  tone.  The  bed 
canopy  is  draped  with  rose  Du  Barry 
striped  taffeta  curtains,  trimmed  with  a 
special  fringe  of  ivory  and  reseda  green. 
The  drawing  room  at  the  left  is  essen- 
tially English,  despite  its  many  Italian 
art  treasures.  There  are  two  fireplaces 
and  over  one  is  a  mirror  from  the  Car- 
militti  Palace  in  Rome 


Harold  Lloyd  used  an  ordinary  motion  ■picture  camera  to 
make  "Safety  Last."  There  was  no  trick  photography. 
But  he  tricked  his  thrills  by  building  fake  building  corners 
on  the  top  of  real  buildings — and  "shooting"  so  that  tjie 
protecting  roof  wo  uldn  7  sliow.    Yet  real  danger  was  involved 


Here  is  the  real  twelve  story  building  with  a  "human  fly" 
doubling.  Note  the  difference  in  the  distance  of  the  clock 
from,  the  cornice  in  the  real  and  the  fake  structure.  Other 
minor  differences  are  apparent.  The  real  building  is 
located  on  North  Spring  Street, in  the  city  of  Los  Angeles 


How  Lloyd  Made  "Safety  Last" 


By  Adela  Rogers  St.  Johns 


THAT'S  one  of  the  questions  that  keeps  the  show  business 
moving.     The  public  is  obsessed  with  a  great  desire  to 
take  its  illusions  apart  and  see  what  makes  them  tick. 
Our  latest  celluloid  exponent  of  the  "How  Does  He 
Do  It?"  school  of  art  is  none  other  than  Harold  Lloyd. 
Harold  has  made  thrill  pictures  before. 
But  when  he  screened  "Safety  Last"  he  evolved  the  final 
word  in  cinematic  convulsions. 

And  awoke  one  flood  tide  of  demands  as  to  how  he  worked  it. 
The  audience  recovers  from  its  laughter,  gets  the  kink  out  of 
its  side,  and  begins  to  speculate.    Then  it  writes  letters  asking 
that  simple  question. 

You  know.  Hanging  by  his  heels  on  a  six-inch  ledge  with  the 
street  cavern  yawning  twelve  stories  below.  Nonchalantly 
pulling  gags  on  the  horrific  edge  of  a  tall  brick  precipice. 
Twirling  with  an  eyebrow  caught  in  the  hands  of  a  clock,  ten 
stories  above  the  dear  old  Mother  Earth. 


All  very  well  in  its  way.  Nobody  has  time  to  wonder  while 
the  amazing  and  rib-tickling  thing  is  going  on. 

But  when  you  get  out — oh,  boy,  how  you  wonder. 

A  lot  of  people  have  answers.  Some  people  have  answers  for 
everything — even  politics.  Rumors  run  from  double  exposure, 
trick  cameras  and  doubles  in  acting,  into  theories  that  would 
make  a  poor  but  honest  cameraman's  hair  turn  white. 

To  hear  most  of  the  tales  circulated,  even  on  Hollywood 
Boulevard,  you  can  only  visualize  Harold  going  forth  to  photo- 
graph "Safety  Last"  with  as  much  hardware  as  the  A.  E.  F. — 
at  least  a  fleet  of  aeroplanes,  a  battery  of  tanks  and  a  regiment 
of  chemists  and  chemical  supplies. 

Now  it  just  happens  that  I  was  around  quite  a  lot  when  they 
were  photographing  "Safety  Last." 

In  the  first  place,  Harold  Lloyd  gives  you  his  word  of  honor 
that  there  is  not  one  foot  of  double  exposure  in  the  thrill 
sequence  of  "Safety  Last."  [  continued  on  page  117  ] 


On  the 

Boulevard 


Stagg 


Connie  Talmadge  sterling  for  a  horseback  ride  with 

her  pet  potted  hyacinth.     Our  camera  man  cavght  her 

purchasing  it  on  Mother's  Day 


THE  celebrated  boulevards  of  the  world — 
the  Champs  Elysee,  BouP  Raspail  and  the 
BouP  Mich,  (of  both  Paris  and  Chicago) — 
now  have  a  rival  for  fame  in  the  BouP  Holly- 
wood. It's  the  Main  street  of  nlmtown, 
sharing  honors  only  with  Fifth  avenue  as  a 
thoroughfare  for  stars.  Even  a  stranger  on 
the  Boulevard  or  Avenue  will  see  a  lot  of 
familiar  faces! 


Photography  by 
Stagg  and  Russell  Ball 


Tommy  Meighan  passing  the  New  York  Public  Library 

on  Fifth  avenue  at  40th.     Quiet  of  manner  and  dress, 

Tommy  seldom  attracts  attention 


.<?/. 


Jack  Holt  in  front  of  the  Boulevard  haul:  debates  as  to 

whether  he  should  deposit  his  weekly  salary  check  or  buy 

a  new  Rolls-Royce — the  old  one  is  getting  shabby 

azi 


Lew  Cody  passes  up  Aphrodite  on  the  fountain  as  he  brisks  along 
the  Avenue,  Central  Pafk  and  the  Plaza  in  the  background.  Would 
you  have  recognized  Gloria  Swanson — on  the  right — if  you  had  met 
her  here  on  BouV  Hollywood,  her  famous  eyes  concealed  by  her  hat' 
Below,  Nita  A'aldi  obligingly  lifts  her  veil  to  be  recognized  as  she 
shops  on  Fifth  avenue.  The  siren  is  economical;  she  wears  a 
Turkish  towel  for  a  turban  and  nothing  at  all  for  stockings 


K^fSJ 

L  "^h 

^9 

Thomas  Meighan  and  Betty  Compson  in 
their  famous  scene  from  "The  Miracle  Man," 
which  established  thcmboth  as  screen  favorites 


The  Man 

I       who  gets 
what  he  wants 

By  Herbert  Howe 


WHENEVER  anyone  asks  if  there 
are  any  "regular"  guys  among 
the  cinema  caliphs  we  always 
carol  "  Tom-mee  Mee-han,"  with 
an  amen  unison. 

I've  only  recently  hit  upon  a  definite 
reason  for  this. 

Thomas  Meighan  is  not  an  artist.  He's  a 
business  man. 

I  have  this  on  no  less  a  screen  authority 
than  Mr.  Meighan  himself. 

He  didn't  make  this  statement  blushingly, 
with  self-deprecatory  gesture.  He  delivered 
it  as  prosaically  as  our  order  for  ham  and 
eggs  country-style. 

"I  have  never  considered  myself  an  artist," 
he  said.  "I  have  never  considered  screen 
acting  art.     It's  a  regular  business,  and  I'm  a  business  man." 

Being  a  business  man,  he's  one  of  us,  hence  we  consider  him 
"regular." 

"Acting  counts  for  less  than  fifty  per  cent  in  screen  success," 
he  said.  "Better  be  a  jack  of  all  trades  than  a  master  of  one  if 
you  want  to  get  ahead  in  the  movie  business.  To  achieve  any 
degree  of  permanent  success  an  actor  must  be  something  of  a 
lawyer,  financier,  writer  and  psychologist." 

Here  you  have  a  solution  of  that  constant  puzzle — why  fine 
actors  fail  to  achieve  success.  .  .  .  They  are  just  actors. 

First  of  all,  says  Meighan,  an  actor  must  know  stories,  and, 
next,  he  must  know  how  to  get  these  stories  for  himself. 
Stories  are  far  more  important  to  the  actor  than  his  histrionic 
ability. 

A  star  with  a  poor  story  is  a  merchant  with  shoddy  goods. 

Certainly  an  actor  must  have  personality  in  order  to  please 
the  public,  just  as  a  merchant  must  be  affable  and  accommodat- 
ing to  please  his  customers.  And  an  actor  must  have  acting 
ability,  just  as  a  merchant  must  have  selling  ability. 

But  neither  an  actor  nor  a  merchant  amounts  to  anything 
without  the  goods. 


To  get  the  right  goods,  an  actor  must  know  them.  In  order 
to  know  stories,  he  must  know  dramatic  construction,  char- 
acterization and — life. 

"Too  many  actors  move  in  little  circles.  They  frequent  their 
clubs,  and  their  friends  are  professional  associates.  In  the 
Lambs  club  here,"  his  eyes  glanced  over  the  grill,  where  we 
were  lunching,  "an  actor  meets  men  of  ideas — writers  and 
players  and  managers — but,  mind  you,  I  don't  say  an  actor 
must  belong  to  this  club  to  get  ideas.  I'm  here  today,  lunching 
on  Fifth  Avenue  tomorrow  and  the  next  day,  perhaps,  ;it 
Child's. 

"The  inspiration  of  the  actor,  like  that  of  a  writer,  is  pro- 
vided with  contacts  with  life  in  all  its  infinite  variety.  To 
know  how  to  play  characters  truthfully  you  must  know  the 
real  characters. 

"My  friends  are  my  biggest  assets.  They  are  business  men, 
lawyers,  writers,  managers  and  actors. 

"When  I  get  a  story  I  study  it,  but  I  don't  rely  on  my  own 
opinion  entirely."  He  smiled,  and  added — "I  don't  want  to 
pull  the  line  from  Merton  about  my  wife  being  my  pal  and 
critic,  but  it  happens  that  [  continued  on  page  107 1 

.17 


Three 

New 
Faces 


Jetta  Goudal  is  a  scran 
newcomer  whose  work  as 
the  Chinese-Peruvian  half 
cast  vampire  of  Richard 
Barthelmess'  "  The  Bright 
Shaui"  attracted  unusual 
attention.  Here  is  a  dis- 
tinctly different  person- 
ality. Miss  Goudal  was 
born  near  Marseilles, 
France,  and  studied  for  the 
theater  in  France,  Germain/ 
and  Holland,.  She  made 
her  American  foollight  de- 
but in  "The  Elton'  Case" 
and  is  just  twenty-three 
years  old 


Constance  Wilson  is  Lois'  younger  sister.  She- 
had  a  s)nall  role  in  "The  Covered  Wagon,"  be- 
sides acting  as  Miss  Wilson's  chaperone  on 
location  in  Nevada.  All  of  which  led  to  her 
being  given  the  post  of  leading  woman  for 
Walter  Hicrs  in  his  new  comedy,  "Fair  Week." 
Constance  is  just  out  of  high  school 


Neil  Hamilton  is  David  War!.:  Griffith's  newest 
"find."  He  appears  in  a  prominent  role  of  the 
new  Griffith  production,  "The  White  Rose,"  and 
ha  unusual  promise,  according  to  our  dean  of 
directors.  Hamilton  was  playing  in  a  Brooklyn 
stock  company  when  Mr.  Griffith  found  him,  and 
be/ore  that,  posed  for  many  advertising  illustrations 


Meet  the 
Duchess! 


She  never  knew 

how  to  spell  her  name — 

but  she  made  it 

famous  just  the  same 

By  Herbert  Howe 


SEATED  on  rose  silken  cushions 
of  a  carved  Italian  bench,  slim, 
erect,  a  princess  from  a  Vene- 
tian tapestry  of  the  cinque- 
cento — 

Hair  like  dark  wings  clasping  a 
Grecian  head,  Italian  eyes,  with  lids 
like  the  Gioconda's  a  trifle  weary,  jew- 
elling an  ivory  oval  face — 

Ibanez's  Duchess  dc  Lille,  to  whom 
I  present  you,  is  at  home  the  calm 
and  sculptural  Alma  Rubens. 

Lifting  a  cigarette  with  pale  taper 
fingers,  from  which  gleamed  a  square 
uncut  gem  the  color  of  absinthe,  the 
Duchess  said — 

"I  certainly  beat  up  that  taxi 
driver." 

The  ash  trembled  and  fell  from  my 
cigarette,  but  no  other  movement 
stirred  the  room.  It  retained  its 
medieval  dignity,  studiously  bare, 
with  great  carved  oaken  table,  a 
wooden  screen  as  intricately  wrought 
as  Spanish  lace,  a  huge  dark  cabinet 
fit  to  store  kings'  treasures — and  in 
one  corner  of  the  room  a  pile  of  phonograph  records  next  a  heap 
of  photomailers. 

"Flemish  or  Italian  .  .  .  ?"  I  pondered  flabbily,  studying 
the  sumptuous  furnishings. 

"League  of  Nations,"  replied  the  Duchess,  amused  golden 
lights  in  her  eyes,  like  sudden  stars  in  the  night. 

"But  you — you're  Italian,"  I  ventured.  "Most  everybody  is 
this  season." 

The  Princess  from  a  Venetian  tapestry  lit  a  Lucky  Strike. 

"I'm  Irish,"  she  said;  "notably  the  nose — and  part  Ger- 
man." 

"Of  course,  Rubens  is  Flemish  or  German,"  I  reflected.  "The 
name  of  the  famous  painter  .  .  ." 

"Also  the  famous  delicatessen  man,"  flashed  Alma  dryly. 
"On  the  boat  to  Europe  I  met  a  scholarly  old  gentleman. 
When  we  were  introduced  he  said,  'Rubens — Rubens,  ah  yes, 
a  most  distinguished  family.'  " 

The  Rubens  who  painted  fat  pink  baigneuses  and  Dutchy 
Venus  over-weight  hardly  seemed  the  right  relative  for  this 
slim  white  patrician.    Better  da  Vinci  or  Giorgionc. 

"As  a  matter  of  fact  my  name  is  not  the  same  as  the  paint- 
er's," explained  the  Duchess.  "  It's  either  Reubens  or  Ruebens 
— I  forget  which.  I  never  could  spell  it.  Couldn't  remember 
where  the  e  came.    So  I  let  it  go  Rubens." 

Not  wishing  to  dwell  on  the  Duchess'  orthographic  failing,  I 
reverted  to  her  triumph  over  the  taxi  driver. 

"You  really  slammed  him?"  I  queried. 


Muray 


Ibanez's  Duchess  de  Lille  of  "Enemies  of  Women"  is  at  home  the  calm 
and  sculptural  Alma  Rubens,  a  regal  combination  of  -poetry  and  -practicality 


She  inclined  her  queenly  head — the  head  of  a  Cellini  medal- 
lion graven  in  pale  moonstone. 

"It  was  in  Paris.  I  wasn't  going  to  be  a  boob  American," 
said  her  highness.  "I'd  been  told  to  tip  fifty  centimes — that's 
what  the  French  tip.  But,  of  course,  I  got  mixed  in  my  change 
and  he  followed  me  up  the  steps  shouting  a  lot  of  French  words, 
none  of  which  were  of  the  twelve  I  understood.  So  I  shoved 
him  back — and  shrieked  at  him.  Luckily' some  of  my  friends 
intervened.  Oh,  I  didn't  really  thrash  him,  but  it  was  em- 
barrassing— since  I  had  to  give  him  enough  francs  to  remedy  the 
injustice  I'd  done  him." 

The  princess  is  certainly  practical.  While  in  Paris,  where  she 
went  for  scenes  of  "  Enemies  of  Women,"  she.  engaged  a  reliable 
guide  to  teach  her  the  bartering  methods  of  the  franc-avid 
Parisians. 

"I  studied  French,  too,  until  I  thought  I  was  perfect.  Then 
I  went  to  see  Ta  Bonche.  Did  you  see  the  play?  They  say  it 
was  good.  I  don't  know.  They  seemed  determined  not  to  use 
any  of  the  words  I'd  learned.  Constance  Talmadge  was  there 
that  night.  Quite  a  party  of  us,  in  fact.  We  all  tried  to  smile 
whimsically  at  the  right  time — but  we  had  to  watch  the 
audience  to  know  when  the  time  was  right — like  a  guest  watch- 
ing the  hostess  to  know  which  fork  to  use  next.  I'll  know  better 
next  time  and  stick  to  the  Follies  Bergere.  You  don't  need  to 
know  any  words  to  enjoy  that." 

I  doubt  very  much  whether  the  Duchess  Alma  bothered 
about  the  right  time  to  smile.  [  continued  on  page  106  J 


Exactly  fourteen  years  ago  a  little  wistful  girl  with  golden 
curls  applied  for  a  job  at  the  old  Biograph  studio  in  Four- 
teenth street.      She  spent  her  last  nickel  to  get  there — but  she 
met  David  Griffith  and  landed  a  small  part 


Chapter  XVI 

A  LITTLE  miss  in  a  grey  jacket,  with  curls  down  her 
back  and  an  earnest,  wistful  face,  stepped  off  a  street 
car  at  Fifth  avenue  and  went  walking  slowly  along 
Fourteenth  street  looking  up  at  the  house  numbers. 
This  was  in  early  May  of  1909,  only  fourteen  years  ago  by  the 
calendars,  but  a  century  ago  in  the  affairs  of  the  motion  picture. 
The  little  girl  was  on  her  way  to  see  if  by  chance  there  might 
be  a  place  for  her  in  Biograph  pictures.      She  jingled  a  couple 
of  stray  pennies  in  her  pocket,  to  remind  her  that  her  last 
nickel  had  gone  for  carfare  and,  if  she  did  not  get  the  job  that 
she  hoped  for,  there  would  be  a  long  walk  back  to  the  boarding 
house  way  uptown  in  Thirty-seventh  street. 

No  one  gave  special  notice  to  this  rather  unimportant  little 
person  of  sixteen,  except  perhaps  the  passing  glance  of  approval 
that  youth  and  a  pretty  face  always  get  in  New  York.  She  was 
just  one  of  the  crowd  that  is  always  passing  in  the  busy  fore- 
noon in  Fourteenth  street.  But  if  it  were  announced  today  that 
this  same  little  girl  would  walk  along  that  same  path  in  that 
same  street  the  police  reserves  would  have  to  be  called  to  keep 
back  the  crowds  and  business  would  stop  as  proprietors,  clerks 
and  customers  rushed  to  the  doorways.  The  girl  was  Mary 
Pickford,  the  Cinderella  queen-to-be  of  the  motion  picture. 
In  just  six  years  more  the  amazing  day  was  to  come  when  the 
little  girl  with  the  curl  could  smile  into  the  face  of  an  anxious 


The  True  Story  o 

The  Romantic 

History 
of  the  Motion 

Picture 

By  Terry  Ramsaye 


motion  picture  magnate  and  say,  in  all  seriousness:  "No — I 
really  can  not  afford  to  work  for  only  ten  thousand  a  week." 
That  last  five  cent  piece  invested  in  a  car  ride  to  Fourteenth 
street  was  the  beginning  of  a  remarkable  journev. 

But  back  of  that  day  in  1909  Mary  Pickfo'rd  had  a  life 
experience  on  the  other  side  of  the  picture,  worthy  of  recording 
here  by  way  of  contrast  and  for  those  who  mayhap  see  her 
successes  of  today  through  the  eyes  of  envy. 

At  sixteen  Mary  had  been  at  work  for  eleven  hard  years. 
She  was  already  old  with  experience  of  the  stern  realities  of 
this  workaday  world.  She  was  born  into  the  most  humble 
circumstances  of  life  and  lived  close  to  the  shadow  of  want. 
Miss  Pickford  was  Gladys  Smith,  an  infant  of  four  when 
her  father  died  in  Toronto,  leaving  his  widow  nothing,  except 
a  family  of  three,  with  Gladys  the  oldest. 

That  morning  when  one  of  the  neighbors  came  and  took 
Gladys  away  for  the  day  the  little  girl  knew  that  in  the  dark- 
ened "best  room"  her  father  lay  dead,  with  candles  burning 
about  the  crucifix  that  stood  at  his  head.  She  knew,  too,  that 
things  were  going  to  be  harder  now  for  her  mother.  In  a  vague 
childish  way  she  wanted  to  help. 

There  were  many  other  tragedies  after  that. 
The  slender  capital  of  the  family  was  invested  in  a  little 
candy  shop  that  shared  half  of  a  fish  store.    The  candy  counter 
did  a  small  business,  selling  gum  drops  at  a  penny  each  to  the 
passing  school  children,  but  it  sufficed  for  the  time. 

Then  came  the  ill  fated  day  when  Baby  Jack  was  left  alone 
in  the  store  with  the  family's  pet  dog.  Jack  found  that  the  dog 
liked  candy,  and  fed  him  the  entire  stock  of  the  establishment. 
The  dog  died,  Jack  was  spanked,  and — the  candy  store  was 
bankrupt. 

Gladys'  mother  went  out  to  look  for  work.  The  little  girl 
was  old  enough  to  go  along  with  her  mother  when  she  went  to 
interview  the  manager  of  the  Valentine  Stock  Company  of 
Toronto,  and  it  was  ambitious  little  Gladys  herself  who  sug- 
gested that  she  might  have  the  baby  part  in  the  production 
under  rehearsal.  The  amused  director  tried  her,  found  that 
Gladys  could  act  and  promptly  engaged  her  for  the  part. 

From  that  day  on  Gladys  Smith  was  on  the  stage.  The  next 
season  she  played  in  "The  Little  Red  School  House,  "and  not 
long  thereafter  appeared  in  the  cast  of  that  sterling  melodrama 
entitled  "The  Fatal  Wedding."  Many  other  melodramas  fol- 
lowed. Then  came  an  engagement  for  the  whole  Smith  family, 
mother,  Lottie  and  Jack,  with  Chauncey  Olcott,  in  "Edmund 
Burke."  Jack,  by  the  way,  was  cast  as  a  little  girl  in  a  frilly 
dress,  to  the  extreme  unhappiness  of  the  young  man.  In  the 
course  of  this  engagement  the  mother  decided  to  put  away 
the  popular  but  unromantic  name  of  Smith  for  the  purposes  of 
the  stage  and  took  for  the  family  name  Pickford,  the  name  of 
her  paternal  grandmother.  "Gladys  Pickford"  did  not  ring 
right  to  her  cars  and  so  Gladys  was  changed  to  "Mary,"  the 
most  glorious  name  in  all  Ireland. 


\lary  Pic\ford's  Beginnin 


In  this  absorbing  chapter 
are  told  the  historic  screen  beginnings  of 

Mary  Pic\ford 
Mabel  T^lormand  Alice  Joyce 

James  Kir\wood 

Henry  ~Walth.aU         Mac\  Sennett 

J^prma  Talmadge 


A  "still"  from  one  of  Mary  Pickford' s 

Mary     shared     with     her  early  Biograph  efforts,  "  Three  Sisters." 

mother  the  burdens  and  re-  Here  may  be  seen   Marion   Sunshine, 

sponsibilities  of  the  family  as  Vivian    Prescott    and    Miss    Pickford 

best  she  could  and  developed 
an  initiative  of  her  own.    She 

strived  mightily  in  her  way,  trooping  with  the  roadshows  and  living  the 
often  precarious  life  of  the  wandering  player.  She  was  of  those  itinerant 
folk  of  the  roadshow  melodramas,  who  call  Broadway  home,  but  seldom 
see  it  except  in  those  unhappy  idle  days  when  they  are  "resting"  while 
"  at  liberty."  Mary  was  on  her  way  up  in  the  world  if  she  could  find  that 
way.  She  learned  to  read  and  write  on  the  road  and  between  scenes 
backstage,  under  the  tutorship  of  the  "female  heavy"  of  a  melodrama 
company.  Meanwhile  Mary  listened  and  learned  of  the  world  about  her. 
She  heard  a  very  great  deal  of  the  chesty  gossip  of  melo  actors  discussing 
"when  I  was  with  Belasco,"  and  came  to  learn  that  on  this  wonderful 
Broadway  Belasco  was  master.  This  established,  she  made  her  decision. 
She  would  play  with  Belasco. 

One  day  when  the  company  was  called  for  rehearsal  for  a  change  of 
bill  over  in  a  little  New  Jersey  opera  house  Miss  Mary  Pickford  was 
missing.  Over  in  New  York  Mary  was  storming  the  stage  door  of 
Belasco's  theater,  demanding  audience  with  him. 

"But  he  won't  see  nobody  at  all,  he's  rehearsing  the  companv,  right 
now."  The  guardian  of  the  stage  door  thought  that  ought  to  be  enough 
and  final. 

"I  don't  care  if  he  is — I  cut  a  rehearsal  over  in  Jersey  to  come  and  he's 


Norma  Talmadge  was  a  Brooklyn  high  school  girl  when  she 

got  her  first  job  as  an  extra  at  Vitagraph.     Miss  Talmadge 

very  nearly  lost  her  position  and  ivas  saved  by  the  pleas  oj 

Maurice  Costello 


going  to  see  me."  Mary  Pickford  charged  past  the  aston- 
ished doorman  in  a  gust  of  mingled  rage  and  determination. 
He  followed,  on  tiptoe,  prayerfully  hoping  that  this  slip 
would  not  bring  down  on  him  the  wrath  of  Belasco  and  the 
loss  of  his  job.  The  doorman  was  just  in  time  to  see  Mary 
dash  into  the  center  of  the  stage,  where  a  company  was 
rehearsing  "The  Warrens  of  Virginia." 

Belasco  was  in  a  bad  humor  over  the  play.    It  was  going 
all  awry,  mostly  because  of  an  unsatisfactory  child  part. 

The  abrupt  appearance  of  little  Mary,  projecting  her- 
self into  the  middle  of  his  troubles,  struck  Belasco  with  the  full 
force  of  its  drama.    He  stopped,  waved  the  company  to  silence 
and  smiled  down  on  his  caller.     She  was  breathless  and  awed, 
but  she  had  yet  the  courage  of  her  sensational  entrance. 

Ten  minutes  later  Miss  Mary  Pickford  was  rehearsing  in 
"The  Warrens  of  Virginia"  under  the  eyes  of  the  great  Belasco. 
She  had  come  to  Broadway  and  won.  For  three  seasons,  until 
she  had  outgrown  her  part,  Mary  played  in  this  production. 

With  the  courage  of  this  conquest  behind  her  it  is  easy  to  see 
how  it  came  that  Mary  was  willing  to  toss  her  last  nickel  for 
carfare  on  a  long  chance  that  she  might  get  into  the  pictures 
with  Biograph.  That  was  her  way.  She  decided  what  to  do 
and  forthwith  did  it. 

When  Mary  came  that  June  morning  to  Number  11  East 
Fourteenth  street  and  turned  up  the  steps  to  the  Biograph 
studio,  she  was  faced  with  even  less  promise  than  the  day  she 
applied  at  Belasco's  stage  door. 


The  Screen  Adventurt 


The  reception  room  at  Biograph  was  presided 
over  by  a  secretary  whose  disposition  had  been 
written  off  as  a  total  loss  years  before.  Her  slen- 
der patience  had  been  worn  away  by  the  abund- 
ant annoyances  of  the  motion  picture  business. 
Her  words  were  sharp  and  few.     Mary  tiptoed  up. 

"I  want  to  see  Mr.  Griffith." 

"Mr.  Griffith  is  busy,  he  will  not  see  any- 
body—  " 

Then  the  secretary  looked  up  and  into  the  wist- 
ful smile  of  Mary. 

Griffith,  with  his  mind  bent  on  his  work  in  the 
studio  above,  was  passing  at  the  moment.  He 
stopped  abruptly  when  he  heard  an  amazing 
change  of  tone  come  into  the  voice  of  the  woman 
behind  the  desk,  still  addressing  the  caller. 

" — but  he  might  take  time  to  see  you,  my 
dear." 

Griffith  wheeled  about.  Who  in  thunder  could 
this  be  that  the  reception  room  clerk  would  ad- 
dress so  tenderly?  What  miracle  had  been 
wrought?     Then  Griffith  saw  Mary. 

Together  they  went  up  the  big  staircase  to  the 
studio,  the  same  romantic  stairway  that  had  felt 
the  tread  of  many  a  grand  dame  and  many  a  fig- 
ure in  the  making  of  the  nation's  history  back  in 
the  days  when  the  room,  where  the  Cooper 
Hewitts  cast  their  eerie  green  glow,  had  been  the 
grand  ballroom  of  the  Martin  Van  Buren  mansion. 


Years  ago,  in  this  tiny  frame  building  in  Toronto,  Mrs. 

Pickford  conducted  a  candy  store,  sharing  the  place  with  a 

fish   market.      Here   was   spent   part  of  Mary   Pickford's 

childhood 


"The  Lonely  Villa"  was  in  the  making.  It  was  a  typical 
Griffith  drama  of  the  day,  a  Biograph  feature,  to  be  one  whole 
reel  in  length,  twice  as  long  as  the  skits  and  comedies  that 
made  up  the  staple  film  output  of  the  trade. 

Marion  Leonard  was  the  leading  woman  in  "The  Lonely 
Villa."  Robbers  were  trying  to  break  into  the  villa,  while  the 
wife,  with  her  children  clutching  at  her  skirts  in  terror,  fran- 
tically tried  to  telephone  for  help.  Her  message  of  dire  distress 
was  but  half  told  to  her  husband  miles  away. 

Mary  Pickford  was  put  in  to  play  the  part  of  one  of  the 
children,  imperilled  while  the  robbers  battered  at  the  door. 

That  afternoon  at  quitting  time  Mary  got  a  handsome  blue 
ticket  which  enabled  her  to  draw  five  dollars  at  the  cashier's 
window,  in  payment  for  her  first  day's  work  in  motion  pic- 
tures. Her  last  nickel  had  been  returned  to  her  a  hundredfold 
— and,  although  she  did  not  suspect  it,  she  had  entered  upon  a 
career  that  was  in  time  to  make  her  the  most  famous  woman  in 


f  Many  Great  Stars 


the  world  and  endow  her  with  a  wealth 
beyond  her  most  ambitious  fancy. 

Griffith  had  a  bit  of  difficulty  with  this 
complicated  drama  of  "The  Lonely 
Villa."  The  robbers  were  expected  to 
batter  away  at  the  door  of  the  villa,  while 
the  rescuing  husband  with  reinforcements 
was  on  the  way,  arriving  at  last  in  the 
well  known  nick  o'  time,  winning  against 
all  obstacles,  including  motor  trouble  in 
a  horseless  carriage. 

The  work  of  the  robbers  at  the  door 
was  just  a  shade  unconvincing.  Griffith 
was  not  satisfied  and  decided  on  a  retake, 
which  was  considered  rather  a  wasteful 
procedure  in  the  motion  picture  practice 
of  the  day. 

While  the  remaking  of  these  scenes  was 
in  progress  a  stranger  found  his  way  as  far 
as  the  studio  door.  It  was  James  Kirk- 
wood,  just  off  the  road  from  playing  in 
"The  Great  Divide"  with  Henry  Miller, 
and,  by  the  bye,  with  Henry  Walthall,  a 
fellow  member  of  the  company.  Kirk- 
wood  had  wandered  into  Biograph,  look- 
ing for  his  friend  Harry  Salter,  an  actor 
who  had  become  an  assistant  to  Griffith. 

Salter  introduced  Kirkwood  to  Griffith. 

Griffith  sized  up  Kirkwood  at  a  glance. 


James  Kirkwood,  a  successful  stage  actor,  wandered 
into  the  Biograph  studio  in  1909  and  was  engaged 
by  Griffith  to  play  a  robber  in  "The  Lonely  Villa," 
which  also  marked  Miss  Pickford's  silversheet  debut 


"Here,  put  on  a  beard  and  get  into  this  scene  as  one  of  the 
robbers."  Kirkwood  had  heard  of  these  motion  picture  things, 
but  he  had  the  standard  and  orthodox  actor's  suspicious  con- 
tempt for  them.     "No,  no!    I  can't  do  that." 

"Yes,  you  can,  and  you'll  fit  the  part  fine." 

Griffith  and  Salter  would  have  their  way. 

"If  I  wear  a  beard  nobody  will  know  me  anywa> — here 
goes,"    Kirkwood  decided.    He  went  on. 

Kirkwood  joined  the  mob  of  robbers  smashing  in  the  villa 
door.  He  remained  with  Biograph  the  rest  of  the  year,  and 
presently  Henry  Walthall,  who  had  been  with  him  in  "The 
Great  Divide,"  came  down  to  join  the  company. 

"The  Lonely  Villa,"  aside  from  its  historic  service  as  the 
vehicle  of  the  introduction  to  the  screen  of  Mary  Pickford  and 
James  Kirkwood,  is  worthy  of  remembrance  because  of  the 
durability  of  the  plot.  It  has  lived  in  Griffith's  memory  ever 
since,  and  in  1922  it  came  to  flower  again  as  a  pretention 


Mabel  Normand  was  posing  for   Butterick   style    pictures 
when  J.  Stuart  Blackton  engaged  her  for  Vitagraph  produc- 
tions as  "the  prettiest  girl  in  New  York."     Miss  Normand 
soon  went  to  Biograph 


ture  drama,  somewhat  modernized  and  revamped,  under  the  title 
of  "  One  Exciting  Night."  The  basic  elements  of  the  two  stories 
are  well  near  identical. 

Mary's  appearance  in  that  small  part  in  "The  Lonely  Villa" 
was  enough  to  show  Griffith  something  of  the  screen  value  of 
her  winsome  face.  She  was  cast  for  the  part  of  Giannina 
in  "The  Violin  Maker  of  Cremona."  The  hero  role  was  played 
by  David  Miles,  an  actor  from  the  stage  who  had  been  added 
to  the  Biograph  stock  by  Griffith. 

"The  Violin  Maker  of  Cremona"  was  released  by  Biograph 
June  7,  1909,  in  936  feet,  subject  No.  3575,  as  may  be  seen  in 
the  old  catalogues  of  the  period. 

There  was  joy  in  the  Pickford  family  at  Mary's  success  and 
the  prospect  of  steady  employment  through  the  summer. 

Even  in  1909  the  peep  show  machines,  which  readers  Of 
earlier  chapters  will  recall  as  the  foundation  of  Biograph's  be- 
ginnings, were  still  widely  in  service  in  penny  arcades,  and  at 
odd  moments  between  more  pretentious  subjects  the  Biograph 
studio  turned  out  the  little  one-minute  dramas  and  farces  for 
the  Mutoscopes.  Lottie  and  Jack  Pickford  made  their  first 
appearances  before  the  motion  picture  camera  for  these  muto- 
scope  subjects,  through  arrangements  made  by  Mary,  who  let 
no  opportunity  for  the  family  pass  untried. 

Griffith  delegated  the  direction  of  these  Mutoscope  pictures 
as  much  as  possible  to  budding  directorial  material  in  his  com- 
pany. Many  of  these  reels  were  directed  by  Eddie  Dillon  and 
Harry  Salter.  And  the  little  card  wheel  pictures  of  the  peep 
shows  contained  casts  with  now  famous  names  that  no  feature 
drama  of  the  screen  has  ever  brought  together.  Mary  Pickford 
played  bits,  too,  in  those  days,  one  reel  dramas,  split  reel  come- 
dies and  peep  show  pictures,  all  the      [  continued  on  page  113  ] 


W 


Buster  Keaton's  gag  department  at  work, 
with — left  to  right — Joe  Mitchell,  Clyde 
Bruckman,  Buster  himself,  Jean  Havez  and 
Eddie  Cline.  All  of  them  are  trying  to  move 
a  facial  muscle  of  the  sad-faced  comedian 


Gag  Men 

By 

Mary  JVinship 


A    GAG  man  sounds  like  a  cross  be- 

/  \     tween  a  yegg  and  a  second  story 
/     \  worker. 

If  you  overheard  anybody  talk- 
ing about  a  gag  man,  you  might  imagine  it 
was  a  new  title  for  some  master  mind  of 
the  underworld  who  had  invented  a  new 
method  of  separating  people  painlessly  from 
the  bank  roll. 

But  a  gag  man — a  good  gag  man — is 
worth  a  lot  of  money  in  Hollywood. 

If  it's  getting  money  under  false  pre- 
tenses to  be  a  gag  man — he's  smart  enough 
to  be  within  the  law. 

A  gag  man — seems  so  simple  when  you 
know  how  to  do  it — is  a  man  who  thinks  up 
gags. 

He  works  for  a  comedian  and  he  gets 
more  money  than  anybody  but  the  presi- 
dent of  the  company  and  all  he  does  is  sit 
around  and  give  birth  to  ideas  that  will  be 
funny  when  you  see  them  on  the  screen. 

Of  course,  everybody  knows  what  a  gag  is. 

Harold  Lloyd  says:  "If  the  ideas  we  put 
in  a  picture  get  laughs,  they're  gags.  If 
they  don't — they're  mistakes." 

Buster  Keaton  says  that  a  gag  is  "a 
funny  piece  of  business  or  a  situation  in 


Douglas  MacLean  has  just 
lured  over  Ray  Griffith,  one  of 
the  best  gag  men  in  the  business 
as  well  as  an  interesting  actor, 
to  help  him  with  his  new  picture, 
"Going  Up" 


They  thin\  out 
the  funny  stunts  for 
the  comedians 
and  receive  salaries 
ranging  up  to  a 
thousand  dollars 
a  wee\ 


which  the  incongruity,  the  unexpected  or 
physical  humor  raises  the  amusement  of 
the  audience  to  laughter.  The  gag  is  the 
gospel  of  the  comedian." 

The  cat  gag  and  the  moth  ball  gag  in 
"Grandma's  Boy"  are  said  by  exhibitors 
to  have  received  the  biggest  laughs  ever 
laughed  in  their  theaters. 

Now  it  may  be  your  impression  that 
those  things  just  happen.  That  a  star 
trips  out  on  the  set  and  just  automatically 
acts  like  that,  or  that  the  brilliant  scenario 
writer  puts  them  in  the  script.  Or  that 
they  necessarily  emerge  as  a  part  of  making 
screen  comedies. 

Far,  oh,  very  far,  from  such. 

Gag  men  draw  more  money  than  leading 
ladies,  scenario  writers  and  trick  monkeys 
put  together.  They  are  employed  to  think 
up  gags  and  for  nothing  else.  They  toil 
not,  neither  do  they  write,  spin  nor  act. 

They  watch  the  story  and  then  they  say, 
"Now,  right  there,  I  think,  it'd  be  a  good 
gag  to—" 

There  is  a  story  that  a  comedy  director 
once  found  a  lowly  flivver  in  the  place 
where  he  was  accustomed  to  park  his  own 
Rolls  Royce.    He  wrote  a  sign  and  tacked 


U 


Harold  Lloyd  pays  his  gag  man,  Sam  Taylor,  one 
thousand  dollars  a  week.  Taylor,  by  the  way,  is  one  of 
the  most  serious-looking  indiriduals  in  all  Hollywood 


Al  Christie  is  not  only  the  producer  of  over  nine  hundred 
comedies  but  he  is  a  great  gag  man  as  well,  actively  super- 
vising this  line  of  work  for  his  entire  studio.     And  he 
employs  a  gag  staff  of  six  to  eight  men 


Lloyd  Hamilton's  gag  man,  Archie  Mayo,  used  to  be  a 

shirt  salesman.     Now  he's  earning  a  small  fortune 

doping  out  funny  stunts 


it  up,  saying,  "I  have  been  directing  on  this  lot  two  years. 
I've  always  parked  my  car  here  and  I  always  will.  Take 
notice." 

The  next  morning  he  found  the  following  reply,  "I  have 
just  seen  your  last  picture  and  you  wouldn't  be  here  two 
minutes  more  if  it  wasn't  for  me  and  I  like  this  parking 
place.    The  Gag  Man." 

Harold  Lloyd  pays  Sam  Taylor,  his  gag  man  and  one  of 
the  two  best  in  the  business,  a  thousand  dollars  a  week. 

The  other  best  gag  man,  Ray  Griffith,  is  now  acting  for 
Marshall  Neilan,  after  drawing  the  same  salary  from 
Sennett  for  several  years.  But  Douglas  MacLean  paid  Ray 
Griffith  a  sum  almost  as  large  as  he  paid  for  his  story  to 
come  over  nights  and  dope  out  gags  for  "  Going  Up,"  his 
new  starring  vehicle. 

Charlie  Chaplin  is  the  only  screen  comedian  who  doesn't 
employ  a  regular  gag  man.  He  thinks  up  almost  every  gag 
himself.  But  then  you  know  Charlie  writes,  directs  and 
acts  his  own  stuff  without  any  outside  assistance. 

Buster  Keaton  keeps  a  gag  department  composed  of  four 
men — among  them  Jean  Havez,  who  used  to  write  shows 
for  Kolb  and  Dill  and  who  composed  the  famous  ditty, 
"Everybody  Works  but  Father."  Havez  used  to  prepare 
stage  gag  material  for  Bert  Williams  and,  if  the  elegant 
automobile  he  drives  is  any  criterion,  his  salary  must  be  an 
awful  blow  to  Buster. 

Thomas  Gray,  who  wrote  the  "Greenwich  Village 
Follies"  of  1921  and  a  lot  of  stuff  for  the  Music  Box  Revues 
of  1921  and  1922,  also  is  a  gag  man  for  Keaton. 

Gag  men  are  born  and  not  made.  Sam  Taylor,  who  is 
probably  the  most  serious  looking  individual  in  all  Holly- 
wood and  wears  spectacles  in  real  life  that  look  exactly  like 
Harold's  screen  ones,  is  a  graduate  of  Fordham  University 
and  a  scenario  writer  of  note. 

But  Harold,  who  insists  that  there  must  be  at  least  one 
gag  in  every  scene  or  situation,  pays  him  a  railroad  presi- 
dent's salary  to  think  up  gags  for  him. 

Taylor  insists  that  a  real  sense  of  the  dramatic  is  necessary 
in  order  to  make  a  big  gag. 

"A  gag  is  anything  which  lifts  the  reaction  of  the  audience 
to  a  comical  situation  from  mere  amusement  to  spontaneous 
laughter,"  he  said  the  other  [  continued  on  page  io6  ] 


45 


May 
Allisons 

New 
Personality 


WOMEN  change  their  personalities, 
nowadays,  as  they  used  to  change 
their  gowns.  A  sleek  coiffure  instead 
of  a  mass  of  fluffy  curls,  a  different  per- 
fume, a  slow  smile  in  place  of  a  giggle — 
and  the  thing's  done!  Done  completely 
and  irrevocably.  With  a  feminine  air 
of  subtle  efficiency  that  amounts,  almost, 
to  magic! 


May  .1  llison,  befon — rigid — and  after — above — 
taking  a  trip  around  the  world.  She  learned  a 
lot  from  India  and  the  simplicity  of  art.  Her 
rooms  are  fragrant  with  sandalwood,  now — and 
she  used  to  wear,  openly  and  with  no  shame,  the 
perfume  of  wood  violets!  Once  an  ingenue,  al- 
ways an  ingenue — so  critics  have  said.  But 
May,  ivith  a  disdainful  wave  of  a  hair  brush — 
with  looped  up  earrings  and  a  rope  of  pearls — 
has  proved  them  wrong!  Her  screen  vehicles, 
once  upon  a  time,  were  frothy,  transparent  af- 
fairs. Sub-debs  and  school  girls  and  tomboys 
were  her  specialty.  But  her  next  picture — the 
first  since  her  return — will  feature  her  as  a 
dashing  and  aristocratic  divorcee 


46 


The  PHOTOPLAY  MEDAL  of  HONOR 

FOR  THE  BEST  PICTURE  RELEASED  DURING  THE  YEAR  1922 


Reverse  side  of  Medal  as  presented 
for  "Humoresque"  (reduced) 


Reverse  side  of  Medal  as  presented 
for  "ToVable  David"  (reduced) 


The  Photoplay  Medal  of  Honor 


WHAT  WAS  THE  BEST  PICTURE  OF  1922? 


? 


VOTING  for  the  third  Photoplay 
Magazine   Medal  of  Honor,   for 
the  best  picture  of  1922,  is  now 
open.     The    Medal    of    Honor    is    now 
recognized  as  the  mark  of  supreme  dis- 
tinction in  the  world  of  the  photoplay. 

The  first  Photoplay  Magazine  Medal 
of  Honor,  for  1920,  was  awarded  to 
William  Randolph  Hearst,  whose  Cos- 
mopolitan Production  of  "Humoresque" 
was  voted  the  most  distinguished  photo- 
play of  that  year.  The  second  Photo- 
play Medal  of  Honor,  for  1921,  went  to 
the  Inspiration  Pictures,  Inc.,  production 
of  "Tol'able  David,"  starring  Richard 
Barthelmess. 

Photoplay  Magazine  wishes  to  repeat 
that  the  Medal  is  the  first  annual  com- 
memoration of  distinction  in  the  making 
of  motion  pictures  and  to  again  indicate 
that  the  award  should  go  to  the  photoplay 
coming  nearest  to  a  perfect  combination 
of  theme,  story,  direction,  acting,  con- 
tinuity, setting  and  photography.  As 
before,  the  honor  is  wholly  in  the  hands 
of  Photoplay  Magazine  readers,  who, 


through  their  letters  or  votes,  are  sole 
judges. 

As  in  the  previous  two  years,  the  voting 
is  delayed  six  months  after  the  closing  of 
the  year  so  that  pictures  released  at  the 
end  of  the  year  may  have  an  opportunity 
to  be  seen  in  all  parts  of  the  country. 

Below  will  be  found  a  list  of  fifty  pic- 
tures, carefully  selected  and  considered. 
Your  choice  of  the  best  picture  made  in 
1922  will  probably  be  there.  If,  however, 
it  is  not,  you  may  vote  for  it,  first  making 
sure  that  it  was  released  during  1922. 

Photoplay  takes  special  pride  in  its 
readers'  awards  for  the  years  1920  and 
1921.  Both  "Humoresque"  and  "Tol- 
'able David"  were  productions  of  signal 
merit  and  both  had  splendid  thoughts 
behind  them,  one  being  a  moving  epic  of 
mother-love  and  the  other  presenting 
the  spiritual  development  of  American 
boyhood  into  manhood. 

The  Photoplay  Medal  of  Honor  is  a 
thing  of  distinct  beauty.  It  is  of  solid 
gold,  weighing  123J^  pennyweights,  and 
is  two  and  a  half  inches  in  diameter.     It 


is  being  executed,  as  were  the  Medals  of 
1920  and  1921,  by  Tiffany  and  Company 
of  New  York. 

Fill  out  the  coupon  on  this  page,  and 
mail  it,  naming  the  photoplay  which, 
after  honest  and  careful  consideration, 
you  consider  the  best  picture  of  1922. 
Or  you  may  send  a  brief  letter  voting  for 
your  favorite.  This  announcement,  with 
its  coupons,  will  appear  in  three  successive 
issues,  beginning  with  this  number.  All 
votes  and  voting  letters  should  be  ad- 
dressed to  the  Photoplay  Medal  of 
Honor  Ballot  and  must  be  received  at 
Photoplay's  editorial  offices,  221  West 
57th  Street,  New  York  City,  not  later 
than  October  1st,  1923. 

Do  your  duty!  You  want  better  pic- 
tures. Here  is  your  opportunity  to  honor 
the  best  in  motion  pictures  and  at  the 
same  time  encourage  producers  to  put 
vision,  faith  and  organization  behind 
their  efforts. 

Mail  your  coupon  or  letter  NOW! 

In  case  of  a  tie,  decision  will  be  made 
by  a  committee  of  newspaper  critics  to 
be  appointed  by  the  editor  of  Photoplay. 


SEND   YOUR  VOTE  AND  ENCOURAGE  GOOD  PICTURES 

Suggested  List  of  Best  Photoplays  of  1922: 


Beautiful  and  Damned 

Blood  and  Sand 

Bond  Boy 

Clarence 

Cradle  Buster 

Dangerous  Age 

Dictator 

Doctor  Jack 

Doubling  for  Romeo 

East  Is  West 

Eternal  Flame 

Flirt 

Foolish  Wives 

Forever 

Hero 

His  Back  Against  the  Wall 

Hottentot 


Human  Hearts 
Hungry  Hearts 
Hurricane's  Gal 
Lorna  Doone 
Loves  of  Pharaoh 
Manslaughter 
Man  Who  Played  God 
Miss  Lulu  Bett 
Monte  Crista 
Nanook  of  the  North 
Nice  People 
Old  Homestead 
Oliver  Twist 
One  Exciting  Night 
One  Glorious  Day 
Our  Leading  Citizen 
Peg  o'  My  Heart 


Pen  rod 

Poor  Men's  Wives 

Prisoner  of  Zenda 

Quincy  Adams  Sawyer 

Robin  Hood 

Sin  Flood 

Slim  Shoulders 

Smilin'  Through 

Sonny 

SI  0  rm 

Tailor  Made  Man 
Tess  of  the  Storm  Country 
Timothy's  Quest 
To  Have  and  To  Hold 
Trifling  Women 
When  Knighthood  Was  in 
Flower 


Photoplay  Medal  of  Honor  Ballot 

editor  photoplay  magazine 

221  W.  57th  Street,  New  York  City 

In  my  opinion  the  picture  named  below 
is  the  best  motion  picture  production  re- 
leased in  1922. 


NAME  OF  PICTURE 


Name- 


Address- 


47 


"Well,"  wenton  Helen  Kramer, 
"I  overheard  him  tell  her,  one 
night,  that  she  attracted  him 
more  than  any  woman  he  had 
ever  met.  He  was  holding  her 
hands,  and — "  "The  dirty 
hound!"    Lloyd  started  to  rise 


.n»iE»    »ioim;c»iie>-")  --f^A^£, 


Start  now  to  read 


That  which  has  gone  before 

TO  be  lifted  from  the  depths  of  despair  to  a  radiant  future — 
that  is  what  happened  to  Joy  Moran  when  the  mysterious 
Mr.  Watrous  secured  a  position  for  her  in  a  great  motion 
picture  company.  The  play  in  which  she  was  taking  a  leading 
part  had  closed,  suddenly,  and  her  ne'er-do-well  father  was  ill 
and  blind  from  the  effects  of  bad  liquor.  Furthermore  he  had 
raised  the  amount  of  a  check  given  him  by  Mr.  Watrous — 
which  put  Joy  very  much  in  that  gentleman's  debt.  She  was 
inclined  to  look  favorably  on  his  motion  picture  project  until 
she  learned  that  she  was  not  only  to  act  before  the  camera,  but 
to  ferret  out  a  mystery  in  the  past  of  Jean  Romain,  the  nation's 
foremost  picture  star.  Romain  was  engaged  to  Margot 
Gresham,  the  daughter  of  a  millionaire  client  of  Watrous,  who 
wanted  the  engagement  broken — on  evidence  that  Joy  was 
expected  to  secure.  Evidence  relating  to  a  scandal  that  linked 
the  star,  in  no  pleasant  way,  with  the  death  of  his  first  wife. 
This  work  was  distasteful  to  Joy — she  was  the  soul  of  honor; 
and  she  had  always  secretly  admired  Romain.  But  there  was 
no  alternative,  and  so  she  started  for  the  coast.  To  her  surprise 
she  found  that  Romain  was  going  on  the  same  train,  and, 
before  they  reached  California,  the  two  had  struck  up  a  real 

i8 


Mr.  Kummers 
Great  Story 


friendship.  Joy  felt  a  decided  thrill  while  in  the  man's  presence 
— she  had  never  felt  that  way  about  Arthur  Lloyd,  a  former 
suitor  who  had  quarreled  with  her  over  her  duty  to  her  father. 
Once  in  Hollywood,  Joy  met  the  people  who  were  to  figure 
prominently  in  her  life  —  Margot  Gresham,  Sam  Leon,  the 
director;  Mr.  Kramer,  the  art  director  of  the  film  company;  and 
his  dark,  foreign  looking  wife,  Helen,  who  seemed  to  know 
something  disturbing  about  the  tangle  in  Romain's  past.  The 
first  afternoon  of  her  arrival  Joy  danced  at  a  swimming  party, 
knowing,  as  she  did  it,  that  the  dance  was  for  Jean  Romain 
alone.  That  same  night,  at  another  party,  she  had  an  un- 
explainably  ardent  talk  with  him  that  left  her  shaken.  And  on 
the  way  back  to  her  hotel  Mrs.  Kramer  unburdened  herself  of 
some  of  Romain's  story.  The  woman  was  warning  her,  Joy 
felt — she  was  dangerous  and  probably  jealous! 


The  Studio 


Secret 


Frederic  oArnold 
Kummer's 

Fascinating  Novel 

of  love 

and  mystery  in 

Hollywood 


Illustrated  by 

James  Montgomery 

Flagg 


Romain  had  only  to  carry  Joy 
through  the  curtains,  and  thus 
beyond  the  limits  of  the  scene, 
but  in  that  brief  space  he  found 
time  to  do  two  things  .  .  .  to 
kiss  her  bare  shoulder  .  .  .  to 
whisper  that  she  was  the  love- 
liest thing  that  he  had  ever  seen 
in  his  life.  But  the  reaction 
from  Joy's  emotional  effort  left 
her  listless,  still 


Chapter  XIV 

FOR  days  after  her  arrival  in  Hollywood  Joy  Moran  found 
herself  in  a  singularly  confused  and  unhappy  state  of 
mind. 

She  had  not  supposed,  when  she  accepted  the  position 
secured  for  her  by  Mr.  Watrous  in  the  screen  world,  that  the 
things  she  was  expected  to  do  in  return  would  prove  so  difficult. 
By  nature  unfailingly  honest,  with  a  spirit  above  all  petty 
deceit,  she  found  herself  called  to  spy  on  a  man  she  admired;  a 
man  whose  reaction  to  her  own  vivid  personality  had  been 
immediate  and  most  flattering.  Many  times,  during  those 
early  days,  she  was  on  the  point  of  abandoning  the  whole  proj- 
ect, of  resigning  her  new  position  and  going  back  to  New  York. 
Only  thoughts  of  her  father,  blind  and  helpless,  of  the  money  so 
imperatively  needed  to  provide  for  his  comfort  and  welfare, 
kept  her  at  her  post. 

Night  after  night,  alone  in  her  room  at  the  hotel,  she  strove 
to  find  a  way  of  escape  from  the  sinister  web  of  intrigue  in 
which  she  was  enmeshed.  Did  she  really  want  to  break  up  Jean 
Romain's  marriage  to  Margot  Gresham  and  her  millions?  She 
asked  herself  the  question  over  and  over,  and  could  find  no 
answer  to  it.  Yet  she  knew  in  her  heart  that  if  she  did  decide 
to  carry  out  Mr.  Gresham's  wishes,  earn  the  hundred  thousand 
dollars  he  had  offered,  the  way  lay  open  to  her,  and  Helen 
Kramer  had  pointed  out  that  way.  If  what  the  art  director's 
wife  had  told  her  was  true,  she  was  in  a  position  to  bring 


Romain  before  the  authorities  on  a  very  serious  charge,  and  at 
the  same  time  make  herself  a  comparatively  rich  woman.  All 
that  Mr.  Watrous,  Mr.  Gresham,  had  asked  of  her  was  to  find 
out  the  truth;  to  many  it  might  have  seemed  an  alluring  pros- 
pect, with  her  future  on  the  screen  assured  as  an  additional 
bait,  but  to  Joy  the  whole  thing  had  suddenly  become  im- 
possible. Was  it  her  quick  liking  for  the  noted  star  that  made 
her  so  unable  to  injure  him?  It  was  not  love,  certainly,  she 
told  herself,  since  by  staying  her  hand  she  was  voluntarily  turn- 
ing him  over  to  the  arms  of  another  woman. 

During  the  many  days  of  hard  work  which  followed  her 
arrival,  she  tried  unsuccessfully  to  forget  herself  and  her 
problems  in  the  bigger  interests  of  the  new  picture.  Since  the 
night  of  Sam  Leon's  party  she  had  not  once  seen  either  Romain 
or  Helen  Kramer  alone.  She  met  the  former  daily,  at  the 
studio,  on  the  lot,  but  she  made  it  a  point  to  avoid  him,  without 
letting  him  see  that  she  was  doing  so.  Happily  this  avoidance 
was  made  easier  by  the  fact  that  Margot  Gresham  was  con- 
stantly at  his  side.  The  girl  seemed  to  have  sensed,  in  some 
intuitive  way,  her  fiance's  liking  for  Joy,  and  allowed  him  no 
opportunity  to  be  alone  with  her. 

As  for  Helen  Kramer,  she  seldom  came  to  the  studio,  but  Joy 
learned  from  her  husband  that  she  was  working  on  a  play. 
They  had  met,  from  time  to  time,  however,  and  the  art  direc- 
tor's wife  had  urged  Joy  to  come  and  see  her,  but  Joy  had  not 

49 


gone.  It  was  not  easy  to  spend  her  evenings  alone,  with 
pleasure  calling  in  dulcet  tones,  but  she  managed  it.  Thoughts 
of  her  father  helped  her;  he  was  much  in  her  mind,  but  of 
Arthur  Lloyd,  in  spite  of  his  frequent  letters,  she  scarcely 
thought  at  all. 

The  new  picture,  by  now,  was  well  under  way  and  Joy  had 
plenty  to  occupy  her,  but  no  work  had  been  done,  as  yet,  on 
the  scenes  in  which  she  appeared  .with  Romain.  He  greeted  her 
pleasantly,  but  with  a  certain  constraint,  whenever  they  met; 
it  seemed  to  Joy  that  he  had  once  again  raised  a  barrier  between 
them,  as  he  had  done  that  first  day  on  the  train.  Well,  it  was 
certainly  the  correct  thing  for  an  engaged  man  to  do,  even 
though  it  did  not  entirely  correspond  with  what  he  had  told  her, 
during  their  journey  west,  regarding  Margot  Gresham's  broad- 
mindedness.  But  there  were  no  more  invitations  to  swim  in 
the  pool.  Joy  concluded,  without  regret,  that  Margot  must 
have  given  her  attractive  fiance  a  talking-to. 

ONCE  she  met  Romain  in  the  lobby  of  the  hotel,  as  she  was 
going  to  dinner.  He  came  up  to  her,  very  handsome  and  dis- 
tinguished-looking in  his  evening  clothes,  and  put  out  his  hand. 

"How  goes  it?"  he  asked.    "Getting  along  all  right?" 

•'Splendidly,"  she  told  him,  feeling  the  old  rush  of  spring 
in  her  veins  as  his  fingers  closed  over  hers.  "How  is  Miss 
Gresham?" 

"Fine.  I'm  waiting  for  her  now.  We're  going  out  to  the 
Club  Royale  for  dinner.    Been  there  yet?" 

"No."  Joy  shook  her  head.  She  had  heard  of  the  popular 
dining  and  dancing  place,  with  its  brilliant  orchestra,  over  near 
Culver  City,  but  so  far  no  one  had  offered  to  take  her  there. 
Sam  Leon,  the  casting  director,  would  have  been  willing  enough, 
she  suspected,  had  she  been  inclined  to  encourage  his  advances, 
but  she  felt  that  she  was  already  paying  a  big  enough  price  for 
the  success  she  hoped  to  achieve,  and  preferred  to  be  less 
frankly  talked  about  than  were  some  of  the  women  she  had  met. 
After  all,  the  influences  back  of  her  were  more  powerful  than 
any  Mr.  Leon  was  able  to  wield;  a  fact  which  annoyed  him, 
but  it  pleased  Joy  to  know  that  her  position  did  not  in  any 
way  depend  upon  his  favor.    Romain  stood  smiling  down  at  her. 

"You  look — bored.     Why  don't  you  go  about  more?" 

"I  might,  if  there  were  anyone  I  cared  particularly  to  go 
about  with,"  she  flung  at  him. 

"  Then  there  isn't?  "  He  was  beginning  to  show  for  a  moment 
his  old  eager  interest  in  her. 

"Not  here,"  she  replied,  shaking  her  head. 

"Oh.  In  New  York  then."  His  interest  suddenly  waned. 
"I  see."    There  was  a  look  of  disappointment  in  his  eyes. 

"Don't  imagine  yourself  the  only  person  in  the  world  who's 
engaged,"  she  laughed,  thinking  of  Arthur  Lloyd.  Poor 
Arthur — and  in  her  new  environment  she  had  well-nigh  for- 
gotten him. 

"  Margot's  late,"  Romain  said,  glancing  toward  the  door. 

"Is  she?  So  am  I?"  With  a  nod  of  farewell  Joy  went  into 
the  dining  room. 

The  encounter  left  her  strangely  perturbed.  Why,  she  asked 
herself,  had  she  been  so  uncompromising  in  her  attitude — why 
had  she  considered  it  necessary  to  raise  up  between  them  the 
barrier  of  this  imaginary  engagement?  Were  there  not  enough 
barriers  between  them  already?  She  finished  her  dinner  in  a 
thoroughly  dissatisfied  frame  of  mind. 

The  first  persons  she  saw  on  leaving  the  dining  room  were 
Steve  Kramer  and  his  wife,  bearing  down  on  her.  The  art 
director  beamed  at  her  through  his  glasses;  Helen  wore  her 
usual  sphinx-like  smile. 

"  Hello,"  she  said  in  her  lazy  voice.  "Where  have  you  been 
keeping  yourself?"  Before  Joy  could  reply,  Mr.  Kramer 
grasped  her  arm. 

"Look  here,  young  woman,"  he  exclaimed,  his  homely  but 
intelligent  face  wreathed  in  smiles,  "we've  come  to  drag  you 
out  of  your  shell.  Helen  and  I  have  decided  that  you  need  a 
little  amusement." 

"What  sort  of  amusement?"  Joy  asked,  joining  in  his  laugh. 

"Oh,  perfectly  honest  and  harmless.  No  dope  parties  or 
midnight  bathing  jamborees,  in  spite  of  the  things  you  see  in 
the  newspapers.  We're  going  out  to  the  Club  Royale.  They've 
got  a  simply  corking  orchestra,  and  Helen  thought  that  since  I 
dance  so  badly  with  her,  I  ought  to  take  some  one  along  who 
would  help  me  over  the  rough  places.  Meaning  you.  I  haven't 
forgotten  how  well  we  got  along,  that  time  at  Sam  Leon's." 

"He  means  that  you're  a  better  dancer  than  I  am,"  Mrs. 
Kramer  remarked  dryly.  "And  he's  probably  right.  Anyway, 
no  man  ever  gets  a  thrill  dancing  with  his  wife." 

50 


Joy  considered.  She  wanted  to  go.  The  orchestra  in  the 
hotel  had  set  her  pulses  throbbing,  her  feet  moving  to  its  quick 
rhythm.  And  yet,  something  told  her  that  Helen  Kramer  had 
suggested  this  expedition  for  a  purpose,  that  some  other  and 
more  mysterious  reason  than  the  one  she  had  given— to  provide 
her  husband  with  a  dancing  partner — lay  behind  her  basilisk 
eyes.  Did  she  know  that  Margot  Gresham  and  Romain  were 
to  be  at  the  Royale  that  night? 

"I'd  have  to  change,"  she  said,  wavering. 

"I  think  you  look  mighty  attractive  the  way  you  are,"  Mr. 
Kramer  said.  Joy,  who  had  not  expected  to  go  out,  wore  an 
afternoon  affair  of  blue  charmeuse.  Mrs.  Kramer,  however, 
shook  her  head.  Perhaps  it  was  part  of  her  plan,  whatever 
that  plan  was,  to  have  Joy  look  her  best. 

"We'll  wait,  my  dear,  of  course,"  she  said.  "I  want  a  ciga- 
rette anyway,  and  I'm  sure  Steve  would  like  another  after- 
dinner  cigar.  He  always  has  indigestion,  poor  dear,  if  he  isn't 
able  to  snooze  for  half  an  hour,  like  an  anaconda,  after  eating. 
Run  along  and  put  on  another  frock."  She  pushed  her  husband 
carelessly  toward  an  easy  chair. 

Joy  glanced  into  her  closet.  There  was  an  evening  gown  of 
green  and  gold  that  she  had  not  worn  since  her  arrival  in  Holly- 
wood. When  she  appeared  in  it  half  an  hour  later,  Mr.  Kramer 
rose  suddenly  and  made  a  profound  salaam.  The  little  man 
was  a  genius,  in  his  way,  and  the  sight  of  Joy,  her  lovely  shoul- 
ders and  back  like  warm  ivory  in  their  setting  of  dull  gold, 
appealed  to  the  artist  in  him. 

"Exquisite!"  he  exclaimed.  "Perfect!  You'll  be  the  belle 
of  the  ball,  I'll  tell  the  world." 

Helen  Kramer's  somnolent  eyes  lit  up  with  a  curious  glitter. 

"You're  right,  Steve,"  she  said.  "I  hope  everyone  will  be 
there  to  see  her."  Again  Joy  sensed  that  her  companion  knew 
of  Romain's  presence;  what  she  did  not  know,  however,  was 
that  Joy  knew  it  as  well.  She  determined  to  keep  the  knowl- 
edge to  herself.     Mr.  Kramer  led  the  way  to  his  car. 

Dinner  was  well  over  when  they  arrived,  and  everyone  was 
dancing.  Joy  saw  the  tall  form  of  Jean  Romain  the  moment 
she  entered  the  room,  with  Margot  Gresham  in  his  arms.  She 
watched  Helen  Kramer  out  the  corner  of  her  eye,  and  the  spasm 
of  mingled  love  and  hatred  that  momentarily  rested  upon  the 
latter's  face  caused  her  to  shudder.  There  was  the  look  of  a 
jealous  tigress  in  her  narrowed  eyes  as  she  watched  the  two 
swinging  about  the  crowded  room.  A  moment  later  Joy's 
thoughts  were  interrupted  by  a  chorus  of  greetings. 

Sam  Leon,  with  his  red-haired  affinity,  Florence  Dane, 
ended  a  dance  directly  in  front  of  them,  and  seizing  Joy's  hand, 
kissed  it  with  elaborate  ceremony.  His  little  eyes  rolled  in  pre- 
tended ecstasy. 

"Heavenly — divine!"  he  exclaimed.  "The  Venus  de  Holly- 
wood!" But  beneath  his  exaggerated  foolery  Joy  saw  that  he 
was  impressed.  She  thought  so  the  more  because  of  the  coolness 
of  Miss  Dane's  greeting.  A  moment  later  Vesta  Lorraine  came 
up,  accompanied  by  Mr.  Davidson.  The  famous  director  eyed 
her  with  keen  approval. 

"You  are  charming,  Miss  Moran,"  he  said.  Then  Romain 
and  Margot  Gresham  joined  them.  Joy  did  not  fail  to  observe 
the  flicker  of  amusement  in  the  former's  eyes.  Not  two  hours 
before  she  had  told  him  she  had  never  been  to  the  Royale — 
that  there  was  no  one  with  whom  she  cared  to  come.  Appar- 
ently she  had  moved  quickly.  He  did  not,  however,  refer  to 
their  conversation  earlier  in  the  evening. 

MARGOT  GRESHAM  was  her  cool,  insouciant  self,  and  even 
Joy's  keen  eyes  failed  to  detect  the  slightest  suggestion  of 
jealousy  in  her  manner,  when  Romain  swept  her  off  in  the  next 
dance.  Helen  Kramer  smiled  contentedly  and  pushed  her  hus- 
band toward  Margot. 

"Better  get  even  with  him,  Steve,"  she  said,  "for  stealing 
your  partner."    Then  she  turned  to  Sam  Leon. 

Joy,  as  she  whirled  off,  saw  the  little  byplay,  and  wondered 
what  Mrs.  Kramer  was  up  to.  Women  of  her  type  moved  in 
strange,  subtle  ways.  Was  it  her  purpose  to  break  up  matters 
between  Romain  and  Margot  by  using  her,  Joy,  as  a  cat's-paw, 
and  then  to  cause  trouble  between  Joy  and  the  famous  star  by 
making  use  of  the  information  she  claimed  to  possess?  She  had 
told  Joy  that  she  would  prove  the  truth  of  her  statements 
"when  the  time  came."  Had  the  time  come  now?  It  all 
seemed  very  muddy,  very  full  of  trickery  and  deceit.  Joy 
found  herself  contemplating  with  disgust  a  denouement  which 
was,  in  effect,  the  very  thing  she  had  come  to  Hollywood  to 
bring  about.  A  similar  situation,  she  reflected,  as  she  saw 
Margot  Gresham  in  earnest  conversation  with  Mrs.  Kramer. 


Joy  and  Romain  had  been  silling 
among  the  wood  and  plaster  of  the 
make-believe  House  of  the  Sirens  when 
the  young  actor  exclaimed,  "What's 
the  use?"  He  jumped  up  and  kicked 
savagely  at  a  pile  of  plaster.  "I'm 
engaged.  So  are  you.  And  there's  a 
lot  more  —  things  you  don't  know 
about.  I  guess  I'm  just  a  plain, 
ordinary  fool" 


The  two  seemed  to  be  looking  at  her.  She  glanced  up  and  met 
Romain's  eyes.  There  was  very  little  of  the  old  laughter  in 
them. 

"What  are  you  worrying  about?"  he  asked, 

"How  do  you  know  I  am  worrying  at  all?" 

"Your  face  shows  it.  The  look  in  your  eyes.  And  then,  you 
were  staring  at  Helen  Kramer  as  though  she  had  hypnotized 
pou." 

"Was  I?  Well — I  admit  she  has  a  curious  fascination  for  me. 
Don't  you  think  she  is  attractive?" 

"I  did  think  so,  once.    When  I  first  met  her." 

"And  now?" 

"Now?"    He  hesitated,  as  though  seeking  his  words  care- 


JAiiiesi  /iio/fTsomery  TlaCJs 


fullv.     "Now,  I  am  just  a  little  bit  afraid  of  her." 

"Why?" 

"Oh — it's  a  long  story.  About  things  that  happened  over  a 
year  ago.    I  don't  imagine  you'd  be  interested." 

"But  I  would.  Very  much.  I  hope  you  won't  think  me 
catty  if  I  say  that  she  seems  to  me  the  sort  of  woman  that  loves 
to  make  trouble." 

Romain  gave  her  a  quick,  interrogating  glance.  "  So  you've 
found  that  out?     Well,  you're  right.     She  adores  it." 

"And,"  Joy  went  on,  with  a  swift  glance  at  the  two  women 
across  the  room,  "I  have  an  idea  that  she's  trying  to  make  some 
right  now." 

"You  mean,  I  suppose,  that  [  continued  on  page  118  ] 

51 


Lowell  J.  Sherman — the  consummate  villain  of  both  the 
footlights  and  the  Kleigs 


Myrtle  Stedman — her  return  to  the  silversheet  is  that 
of  a  mother's  home-coming 


The  Coming  Mansfield 

'TT  TAY  back  in  1905,  when  David  Belasco  produced  that 

W  famous  melodrama  of  the  roaring  '40s,  "The  Girl  of  the 
Golden  West,"  a  young  chap  made  his  Broadway  debut  in  the 
tiny  role  of  the  rider  of  the  pony  express.  The  footlight  new- 
comer was  listed  on  the  program  as  Lowell  J.  Sherman. 

Sherman  has  since  climbed  to  the  premiere  position  of  the 
most  suave  and  sinister  scoundrel  on  our  screen.  Perhaps  the 
questionable  glory  of  the  post  paled  upon  him.  Anyway,  he 
recently  returned  to  the  stage  in  New  York  and  scored  bril- 
liantly in  a  new  field — that  of  character  playing.  After  his 
appearance  in  "  The  Fool "  and  later  in  "  The  Masked  Woman," 
one  ciitic  referred  to  him  as  "a  second  Mansfield." 

Be  that  as  it  may,  Sherman  has  had  a  long  stage  training. 
Indeed,  he  has  been  behind  the  footlights  since  a  child.  Long 
vears  in  traveling  stock  companies  preceded  his  debut  in  "The 
Girl  of  the  Golden  West." 

His  progress  since  has  been  upward,  step  by  step.  Indeed, 
almost  every  engagement  seems  to  be  the  record  of  a  personal 
hit.  Back  in  1911,  he  scored  as  James  Madison  in  "The  First 
Lady  of  the  Land;"  in  1913,  as  Richard  Gilder  in  "Within  the 
Law;"  in  1915,  as  John  Bellamy  in  "The  Eternal  Magdalen;" 
in  1916,  as  Anthony  Wells  in  "The  Heart  of  Wetona;"  in  1917, 
as  Reginald  Irving  in  "Parlor,  Bedroom  and  Bath;"  in  1917,  as 
the  Vagabond  in  "Good  Morning,  Rosamond;"  in  1918,  as  the 
Chevalier  de  Valclos  in  "A  Marriage  of  Convenience;"  in  1919, 
as  Frank  Devereaux  in  "The  Sign  on  the  Door;"  and  in  1921, 
as  the  Vagabond  in  "The  Tavern,"  succeeding  Arnold  Daly. 

Probably  Sherman's  best  known  screen  performance  was  the 
villain  of  David  Wark  Griffith's  "  'Way  Down  East."  Sherman 
got  the  role  only  after  some  fifteen  prominent  players  had 
been  tried  out  and  found  wanting  in  some  respect  or  other. 
And,  by  the  way,  one  of  the  actors  considered  was  Valentino. 

Sherman  is  but  thirty-eight  and  on  the  threshold  of  the  great 
footlight  fame  that  has  come  to  John  Barrymore  and  but  one 
or  two  other  players  of  the  last  three  generations.  Like 
Barrymore,  Sherman  has  won  his  success  slowly  and  surely. 

Here's  welcoming  this  new  Mansfield  of  1923! 

52 


A  Charming  "Mother" 

IT'S  rather  nice  to  have  the  fact  that  you're  the  mother  of  aj 
twenty  year  old  son  bring  you  back  to  fame  and  fortune, 
isn't  it? 

That's  what  actually  happened  to  Myrtle  Stedman,  who  used 
to  be  a  popular  leading  lady  in  the  early  days  of  the  screen  and  j 
who  has  returned  to  give  one  of  the  most  delightful  perform-1] 
ances  of  the  year  as  "The  Famous  Mrs.  Fair." 

Fred  Niblo,  who  directed  the  production,  says  that  he  chose 
Miss  Stedman  for  the  part — after  trying  all  the  actresses  in  \ 
Hollywood — because  she  had  a  grown  son  and  he  felt  that  it 
would  give   her  a  charming  naturalness  and  also   a   mental 
understanding  of  the  mother  of  grown  children. 

Most  everybody  remembers  pretty,  blonde,  fuzzy-headed 
Myrtle  Stedman — one  of  the  earliest  of  screen  favorites. ! 
Particularly  in  a  series  with  Sessue  Hayakawa. 

"Although  in  the  beginning,"  she  murmured  reminiscently, ' 
"  I  used  to  play  an  Indian  heroine  every  spring.  I  was  the  only 
woman  in  the  old  Selig  Western  company — when  we  made  j 
westerns  in  Chicago  and  they  were  one  reel  long  and  took  less  I 
than  a  week  to  make — and  I  was  called  upon  to  play  every  i 
female  lead.     Nobody  had  heard  of  types  in  those  days." 

But  during  the  last  few  years,  Miss  Stedman  dropped  from 
sight. 

There  comes  a  period  in  the  life  of  almost  every  actress  that  J 
very  often  spells  tragedy.     The  time  when  she  is  a  bit  too 
mature  to  play  the  heroine  and  a  little  too  young  to  play 
mothers  or  big  character  roles. 

When  it  was  announced  that  Fred  Niblo  had  cast  her  to  play 
the  title  role  of  "The  Famous  Mrs.  Fair,"  created  on  the  stage 
with  such  great  success,  everybody  said,  "Myrtle  Stedman? 
My  gracious,  we'd  almost  forgotten  about  her." 

Her  success  is  particularly  interesting,  because  it  is  one  of  the 
few  big  successes  registered  on  the  screen  in  such  a  role.  A 
mother  is  usually  ancient  and  white-haired,  as  in  "Over  the 
Hill" — or  she  is  knitting  little  garments  of  "Somebody."  The 
motion  picture  public  has  to  thank  Miss  Stedman  for  a  new, 
interesting  and  vitally  important  characterization. 


Lois  Wilson — if  she  were  even  accused  of  the  slightest 
peccadillo,  Hollywood,  like  Rome,  would  fall 


J.  Warren  Kerrigan — whose  long  absence  from  the 
screen  was  caused  by  the  call  of  filial  duty 


Hollywood's  Pride 

LOIS  WILSON  is  a  symbol  in  Hollywood. 
Anytime  anyone  anywhere  says  anything  against  motion 
pictures,  motion  picture  actresses  or  motion  picture  morals,  the 
entire  colony  says  in  one  breath,  "Look  at  Lois  Wilson.  She's 
the  nicest,  cleanest,  sweetest,  most  wholesome  girl  you  ever 
saw  anywhere." 

It  must  be  an  awful  burden  to  have  hung  around  your  neck. 

If  Lois  ever  committed  even  a  mild  indiscretion — if  she  went 
out  to  dinner  with  a  married  man  even  if  she  didn't  know  he  was 
married,  or  had  a  "location  romance"  with  a  handsome  juve- 
nile, or  used  a  lipstick  in  public — the  whole  motion  picture 
industry  would  collapse. 

There  is  a  lot  of  foolishness  talked  about  perfume  and  its 
significance. 

But  if  there  is  any  fragrance  about  Lois  except  the  sweet,  clean 
fragrance  of  healthy  youth,  it  is  a  delicate  old-fashioned  scent 
that  makes  me  think  of  Bret  Harte's  lovely  lines  about  "The 
delicate  odor  of  mignonette,  the  ghost  of  a  dead  and  gone 
bouquet." 

A  couple  of  years  ago  when  Lois  had  just  registered  herself  so 
splendidly  in  some  of  William  de  Mille's  pictures,  "What 
pEvery  Woman  Knows"  and  "Midsummer  Madness,"  and 
later  as  Miss  Lulu  Bell  there  was  talk  around  the  Lasky  lot  of 
starring  her.     But  it  fell  through. 

So  the  girl  who  started  as  J.  Warren  Kerrigan's  leading 
woman,  went  on  quietly  and  steadily  building  up  a  following  of 
admirers — a  following  who  appreciated  her  fine  ability  and  her 
wholesome  sweetness  and  her  range  of  talent.  There  isn't  any- 
thing sensational  about  Lois  and  her  position  in  the  screen 
world.  But  there's  something  mighty  doggone  solid  and  steady 
about  it. 

"The  Covered  Wagon,"  which  re-united  Lois  and  Jack 
Kerrigan — professionally — after  years,  has  proved  the  climax 
of  her  career. 

Lois  has  three  sisters,  and  a  sweet,  plump  little  mother  and  a 
bald-headed  daddy  and  a  vine-covered  home  in  Hollywood. 
And  May  McAvoy  is  her  inseparable  companion  and  chum. 


A  Welcome  Return 

ABOUT  a  year  ago,  J.  Warren  Kerrigan  was  standing  on 
the  corner  of  Hollywood  Boulevard,  towering  above  the 
passing  throng,  when  another  actor  strolled  up  and  said,  "Well, 
Jack,  when  in  the  world  are  you  coming  back  to  the  screen  ?  " 

Kerrigan  laughed.  "I'll  come  back  when  I  can  get  the  right 
part  and  the  right  salary,  my  boy,"  he  said,  "and  not  until." 

That  was  the  reason  the  world  heard. 

But  that  isn't  the  real  answer  to  the  much  discussed  question. 

Where  has  Warren  Kerrigan  been  from  the  time  he  left  Uni- 
versal nearly  three  years  ago  to  the  day  when  "The  Covered 
Wagon"  picked  him  up  and  brought  him  back  to  a  public  that 
had  not  forgotten  him? 

It  is  a  very  beautiful  story,  the  story  of  those  years.  And 
now  it  can  be  told — now  that  Warren  Kerrigan  has  again  taken 
his  place  among  the  heroes  of  the  silversheet. 

In  the  Hollywood  foothills,  overlooking  all  the  tinted,  busy 
valley  below,  lies  a  wide-spreading,  patioed  white  bungalow, 
whose  wide  verandahs  give  on  the  greenest  of  terraces  and  the 
brightest  of  flower  beds  and  whose  latticed  windows  open  upon 
a  picturesque  stream  of  traffic  flowing  through  Cahuenga  pass. 

Almost  any  day  in  the  past  three  years,  the  passer-by  might 
see  a  tall,  black-haired  man,  in  white  flannels,  his  shirt  open  on 
a  bronzed  throat,  digging  in  the  garden.  But  every  few 
minutes  he  would  stop  to  wave  an  arm  or  call  a  cheery  word  to 
a  slim,  silent  figure  in  a  big  easy  chair  on  the  porch,  a  figure 
wrapped  in  shawls  and  laces. 

All  Hollywood  knows  that  Warren  Kerrigan  spent  his  three 
years  of  idleness  thus — as  the  devoted  companion  and  nurse  of 
his  invalid  mother.  Now  and  then  the  two  of  them  would  be 
seen  driving  in  the  closed  car  or  even  attending  the  theater. 

Her  death  some  months  ago  has  left  the  little  white  house 
very  lonely  and  the  days  in  the  flower  garden  can  never  be 
quite  the  same,  now  that  there  is  none  to  watch  and  to  com- 
mend and  to  smile  over  them. 

And  so  Warren  Kerrigan  has  returned  to  the  art  he  always 
loved  and  to  the  busy,  crowded,  hard-working  days  in  the  big, 
noisy  studios.     To  the  screen  in  "The  Covered  Wagon." 

53 


To  Bob 

or  not 
to  Bob 


That  is  the 

question  that  confronts 

the  stars  today 


Pola  Negri  is  letting  her  hair  grow.  She 
is  going  to  wear  it  up  for  a  time — although 
she  admits  that  she  doesn't  believe  short 
locks  will  ever  be  truly  passe.  "Bobbed 
hair  will  always  be  worn  by  some  very 
smart  women,  to  whom  it  is  becoming," 
she  says.  "I'm  letting  mine  grow  for  a 
change — but  the  comforts  of  bobbed  hair 
will  probably  win  me  back!" 


Norma  Talmadge  looked  blank,  at  first. 
And  then  she  wrinkled  her  very  pretty 
nose  and  spoke.  "Let  my  hair  grow,  or 
not?  Really,  it's  a  serious  question  to 
ask.  Well,  I  guess  that  I  will,  although" 
— she  paused,  smiled,  and — "although  I 
can't  be  sure,"  she  said.  "It's  lovely  to 
have  long  hair — but  I've  always  adored 
mine  short.  Perhaps  I'll  let  it  growl 
And  yet — " 


Viola  Dana  says  that  her  hair  will 
stay  bobbed  until  the  Kaiser  is 
president  of  the  United  States. 
And  she  means  it,  too!  You  see, 
Viola's  hair  is  naturally  curly — 
and  a  wet  comb  will  work  miracles 
in  the  way  ringlets  and  marcel 
appear  all  over  her  head. 
Bobbed  hair  was  written  for 
Viola's  type — and  she  wouldn't 
step  out  of  character  for  anything! 


Blanche  Sweet  was  one  of  the 
last  stars  to  bob  her  tresses,  and 
she  asserts  that  she's  going  to  be 
the  very  last  one  to  let  them  grow! 
Lots  of  people  think  that  Blanche 
has  the  loveliest  hair  of  any 
picture  beauty,  which  is  saying 
a  good  deal — it's  fine,  and  real 
ashe  blonde,  and  as  shimmering 
as  silk.  She  had  it  cut  to  cele- 
brate her  marriage 


Gloria  Swanson  demonstrates  the  latest  in  bobs — which  is 

answer  enough  for  anyone.    Cut  close  to  the  head,  in  back — 

the  silhouette  gives  the  effect  of  a  tight  and  rather  dignified 

style  of  long  hair  dressing! 


54 


Producer 

She's  just  written  and  directed 
her  first  picture  — 
and  she's  only  twenty 'two! 

By 
Sydney  Valentine 


y^~-  ia^-ca~"J^ 


WE  should  like  to  begin  this  in  the  Horatio  Alger 
manner.  About  this  wee  slip  of  a  girl,  who  has 
seen  only  twenty-two  summers,  who,  by  her  very 
own  energy  and  ambition,  has  worked  herself  up 
»rom  obscurity  as  a  studio  employee  to  incipient  celebrity  as 
one  of  the  only  two  women  producers  in  motion  pictures. 
Lois  Weber,  you  know,  is  the  other. 

Unfortunately  for  us,  fortunately  for  her,  Grace  S.  Haskins 
ihas  a  terrific  sense  of  humor.  She  refuses  to  assume  the 
manner  of  the  little-heroine-of-the-studio.  She  won't  pose  as 
the  Little  Nell  among  motion  picture  magnates.  She  is  very 
matter-of-fact,  very  practical,  very  real. 

In  relating  her  trials  which  attended  the  birth  of  her  first 
celluloid  child,  she  has  ample  opportunity  to  pull  the  "all  the 
world  against  her"  line.  Instead,  she  snaps  out  the  bare 
facts  of  her  somewhat  amazing  story,  and  leaves  the  romancing 
to  you.  She  hasn't  done  anything  remarkable — she  says; 
she's  just  worked  pretty  hard,  and  there  were  some  people 
who  didn't  seem  to  want  to  see  her  get  ahead  and  did  all  they 
could  to  stop  her;  but  outside  of  that — 

Miss   Haskins  is  a  small,  slight,  brown-haired   and  brown- 
eyed  person.     She  was  just  a  kid  when  she  first  stepped  inside 
a  studio;  and  she  doesn't  look  much  older  now.     She  has  a 
little  mother  attitude  about  the 
films.     She  has  grown  up  with 
them;   she   knows   their   faults 
but  she  loves  them  anyway. 

About  five  years  ago  she  was 
employed  in  a  Hollywood  hotel. 
Naturally  she  met  motion  pic- 
ture people.  They  interested 
her;  she  was,  even  then,  a  con- 
firmed fan.  When  Madlaine 
Traverse,  a  star  for  Fox,  asked 
her  if  she  didn't  want  a  job  an- 
swering fan  letters,  she  jumped 
at  the  chance.  And  her  work 
did  not  end  with  answering 
letters  and  mailing  autographed 
photographs.  She  managed  it 
so  that  she  was  on  the  lot  when- 
ever they  were  shooting  a  big 
scene;  she  watched  directors 
work;  she  tried  to  familiarize 
herself  with  every  detail  of  pic- 
ture-building. And  soon  she 
talked  herself  into  a  job  in  the 
cutting  room. 

She  learned  all  she  could 
about  cutting  a  picture.  Then 
she  decided  she  was  ready  to 
learn  to  write  continuity.  This 
little  girl  with  the  clear  brown 


eyes  was  determined;  and  she  was  a  darned  good  saleswoman. 
She  had  a  way  of  selling  people  her  ideas.  There  was  very 
little  protest  when  she  announced  her  intention  of  becoming 
a  scenario  writer. 

Continuity  came  easily.  She  was  an  apt  pupil.  And  all 
the  time  she  was  observing.  She  saw  much  waste  in  produc- 
tion. She  would  say  to  herself,  "Now  if  I  were  directing  that 
picture,  I  could  save  a  thousand  dollars  on  that  scene  alone." 
She  ached  for  a  chance  to  prove  it. 

But  she  knew  enough  about  the  game  to  know  that  no  pro- 
ducer was  ever  going  to  give  her  her  chance.  Not  for  a  long, 
long  time,  anyway.  She  would  have  to  make  her  dream  come 
true  herself.  Having  made  up  her  mind  to  it,  she  went  about 
it  in  her  usual  brave  and  business-like  way. 

She  had  an  idea.  That,  she  felt,  was  the  principal  thing. 
The  next  thing  was  to  get  financial  backing.  She  went  to 
several  moneyed  men  whose  acquaintances  she  had  made, 
convinced  them  she  was  in  earnest  and  obtained  their  promise 
of  aid.  Then  she  dusted  off  her  scenario,  "Just  Like  a 
Woman" — oh,  yes,  she'd  been  working  on  that  for  months — 
and  set  about  getting  a  release  for  her  picture-to-be. 

Hodkinson  was  finally  persuaded  that  it  needed  the  Haskins 
picture  on  its  program;  and  a  substantial    check  was  to  be 

mailed  to  California  very  soon. 
On  the  strength  of  this,  Grace 
Haskins  collected  her  company. 
Marguerite  de  La  Motte  for  her 
heroine;  Ralph  Graves  for  her 
hero;  George  Fawcett  for  her — 
well,  you  know  what  Fawcett's 
presence  means  to  a  photoplay. 
While  she  was  awaiting  the 
check  from  Manhattan,  she 
picked  out  her  studio  space  and 
engaged  a  director.  She  was  all 
ready.  All  she  had  to  do  was — 
to  wait. 

And  that  was  something  she 
wasn't  accustomed  to.  It  was 
while  she  was  waiting  that  she 
saw  a  chance  to  use  a  set  in  the 
studio  that  another  company 
had  built  and  was  about  to  tear 
down.  A  costly  set,  which  with 
a  little  rearrangement  of  props 
would  serve  as  the  set  for  the  big 
scene  in  "Just  Like  a  Woman." 
She  had  to  think  quickly  and  act 
in  no  time  at  all,  if  she  wanted 
to  save  hundreds  of  dollars.  She 
would  tell  her  company  and  if 
they  would  take  a  chance  on  the 
Grace  Haskins  [  continued  on  page  i  io  ] 

55 


They've 


Voices 


Eugene  O'Brien,  "the  perfect  lover,"  has 
been  upsetting  the  matinee  girls  with  his 
return  to  the  stage  in  "Steve,"  which 
visited  Chicago  late  last  season  and  comes 
to  New  York  early  next.  "Steve"  proves 
that  'Gene  hasn't  forgotten  his  footlight 
training,  which  was  long  and  varied 


Alice  Brad;/  is  shown  at  the  right  in  a 
scene  of  "Zander  the  Great"  with  Master 
Edwin  Mills.  "Zander  the  Great"  was 
the  hit  of  the  last  third  of  the  Broadway 
stage  season  and  Miss  Brady  was  given 
enthusiastic  critical  notices  as  the  waif 
who  kidnaps  a  little  orphan  and  runs 
away  in  a  flivver  to  far-off  Arizona 


Olga  Petrova  is  always  interesting,  whether  as  a  writer  or 
an  actress.  Her  newest  drama,  "Hurricane,"  her  own 
work,  startled  Chicago  and  seems  likely  to  be  as  sensa- 
tional when  it  reaches  New  York.  Mme.  Petrova  never 
hesitates  to  call  a  spade  a  spade,  and  her  new  drama  of 
a  young  woman  in  combat  with  life  never  minces  words 


Lowell  Sherman  is  fast  becoming  known  as  the  foremost 
young  character  actor  on  our  speaking  stage.  Sherman 
has  had  a  highly  successful  New  York  stage  year,  topping 
it  off  with  an  appearance  in  the  melodrama,  "Morphia." 
He  is  here  shown  in  a  scene  with  Olive  Tell.  Sherman 
has  ambitious  plans  for  the  next  footlight  season 


Chicago  took  a  strong 
fancy  to  Frank 
Keenan's  return-to- 
the-stage  drama, 
"Peter  Weston,"  late 
last  season.  Keenan 
has  always  held  a 
niche  all  his  own 
since  his  unforget- 
table gambler  in 
"The  Girl  of  the 
GoldenWesl."  Here 
he  is  presented  in  a 
moment  of  "Peter 
Weston"  with  Marie 
N ordstrom  and 
Clyde  North 


IHf  HflH^HH 

7,,;  ' 

wl»       ^ 

-     • 

jiiiiiiiimniiimiiii 

EJt 

^c  ■ 

1 

■ 

;  * 

HV    m  AH 

I 

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f 

i    -_ 

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i* 

White.  N.  Y. 


57 


CLOSE-UPS 


A  PLEA  FOR  WEDDING  DIRECT- 
ORS :  A  special  stafl  of  cinema  operators 
was  engaged  recently  to  shoot  a  fashion- 
able London  wedding.  This  is  a  wise  move. 
Since  prominent  people  are  always  photo- 
graphed in  the  act  of  marrying  nowadays  it 
behooves  them  to  think  of  their  camera  angles. 
I  predict  that  it  will  not  be  long  before  a 
director  will  be  as  essential  at  a  smart  wedding 
as  an  officiating  clergyman.  And  we  will  be 
reading  in  the  society  columns  such  items  as : 

"The  Fitzheimer-Guggenbilt  wedding  was  a 
typical  Rex  Ingram  affair,  the  bride  running 
the  gamut  of  emotion  from  innocence  and 
terror  to  passion  and  bankruptcy  in  a  way  that 
caused  interesting  predictions  as  to  her  hus- 
band's future.  Mr.  Ingram,  who  is  known  as 
the  director  of  'Trifling  Women,'  proved  an 
ideal  director  for  the  bride,  who  in  her  previous 
weddings  has  shown  a  tendency  to  overplay 
her  part  in  such  a  way  as  to  necessitate  retakes. 
Her  last  wedding  was  particularly  unfortunate 
because  director  Cecil  B.  de  Mille,  whom  she 
engaged  to  film  it,  insisted  upon  flashbacks  to 


scenes  of  her  previous  marriages,  thereby 
causing  the  bridegroom  to  do  a  Doug  Fairbanks 
through  a  stained  glass  window.  Mr.  Ingram 
was  also  successful  in  bringing  out  the  talents 
of  the  bridegroom,  who  gave  a  typical  boob 
characterization  that  shook  the  church  with 
gales  of  laughter.  One  of  the  surprises  of  the 
production  was  the  clergyman,  who  in  close- 
ups  displayed  a  sex-attraction  second  only  to 
Valentino,  while  the  bride's  father  gave  his 
usual  'heavy'  delineation.  Aside  from  a  brisk 
exchange  of  oaths  between  clergyman  and 
director,  the  wedding  was  comparatively  free 
of  temperamental  skirmishes.  Mr.  Ingram 
only  once  hurled  his  megaphone  at  the  bride. 
All  in  all,  it  looks  as  though  the  director  of  'The 
Four  Horsemen'  had  put  over  another  million 
dollar  spectacle  in  which  wrar  is  suggested  with- 
out harrowing  detail." 

The  Babel  of  Temperaments:  Herbert 
Brenon  is  to  direct  Pola  Negri  in  "The 
Spanish  Dance,"  with  Antonio  Moreno  as 
leading  man.  Herbert's  Irish,  Pola's  Polish 
and  Tony's  a  wild  young  Spaniard.  I  predict 
the  Lasky  studio  will  be  picked  up  in  the 
Pacific  somewhere  between  Catalina  and 
Tahiti. 

The  Pictorial  Pillory:  According  to  the  ad- 
vertisements, "  You  Can't  Fool  Your  Wife"  is 
an  exquisite  lesson  for  disobedient  husbands. 
I  don't  know  whether  it's  a  lesson,  but  it 
certainly  is  punishment. 


Stars  of  Educational  Value:  We  are  informed 
that  the  girls  of  Barnard  college  have  elected 
John  Barrymore  and  Gilda  Grey  their  favorite 
stars.  This  vote  shows  that  the  artists  who  are 
striving  to  give  the  world  bigger  and  finer 
things   are   bound   to   be   appreciated.     Mr. 

58 


&?LONG 
SHOTS 

By  Herbert  Howe 

Decorations    by    JOHN    HELD,  Jr. 


Barrymore  has  done  much  to  popularize 
Shakespeare,  particularly  in  the  seminaries,  his 
Hamlet  having  the  best  pair  of  legs  of  any 
Hamlet  in  forty  generations.  The  world  is 
indebted  to  Prof.  Gilda  Grey  for  her  invention 
of  the  shimmy  and  for  her  indefatigable  la- 
bors in  arousing  interest  in  south  sea  geog- 
raphy and  anatomy  at  the  Rendez-vous 
cabaret.  The  value  of  Prof.  Grey's  movement 
may  be  judged  shortly  by  movie  goers.  It  is  to 
be  immortalized  in  an  Allan  Dwan  production 
Be  sure  to  tell  your  favorite  theater  exhibitor 
that  Gilda  is  coming  so  he  can  nail  his  screen 
firmly  to  the  wall.  Gilda  is  subject  to  shakes 
quite  as  violent  as  those  of  the  late  San 
Francisco. 


curls,  bobbed  hair  ana  silk  panties,  doing 
costume  stuff.  Even  Charley  Ray  dropped  the 
pitchfork,  quit  the  farm  and  flat-footed  it  for 
romance  and  a  blond  wig.  In  "The  Courtship 
of  Miles  Standish"  he  comes  spinning  over  in 
the  Mayflower  to  make  Plymouth  Rock  safe 
for  prohibition.  And  Dick'  Barthelmess,  who 
has  been  wearing  nothing  but  rags,  borrowed 
John  Barrymore's  pants  and  dashed  off  to  [ 
Cuba  to  lick  the  Spaniards  for  kicking  Dorothy 
Gish  under  the  table.  There  seems  no  end  to 
gallantry  these  days — gallantry,  hair  and 
ruffles.  Ramon  Novarro,  who  wore  less  than 
Gunga  Din  but  with  more  chic  in  "Where  the 
Pavement  Ends,"  is  Scaramouching  around 
Hollywood  dressed  up  like  Caesar's  pet  horse. 
This  can't  keep  up.  All  the  boys  can't  be 
Valentino  knights — they  haven't  the  dramatic 
construction.  Besides,  the  public  can  stand 
just  so  many  ruffles  and  no  more.  Some  of  the 
boys  had  better  walk  up  one  flight  and  get  some 
blue  serge  nifties.  It's  a  cinch  if  they  don't 
change  their  panties  some  of  the  producers  ;>re 
going  to  lose  theirs. 


What  Will  We  Do  For  Farm  Hands?  From 
the  moment  Valentino  hoofed  that  tango  in 
"The  Four  Horsemen"  and  set  the  flappers 
cuckooing,  the  movie  boys  haven't  been  the 
same.      They're  all  racing  around  wearing  spit 


ENTER: 

The   Star   Sinister 

We  turn  the  stellar 
spotlight  on — 


MR.  ERNEST  TORRENCE 

Because — 

He  has  made  a  virtue 

of  villainy 
Put  a  sense  of  humor 

in  sin 
And  set  a  new  style 

in  sheiks 

May  he  keep  up  the  bad  work! 


Dramatic  Qualifications:  D.  W.  Griffith  has 
signed  Neil  Hamilton,  his  latest  "find,"  for  a 
period  of  three  years.  Following  the  ceremony 
an  impressive  announcement  was  issued  to  the 
effect  that  Mr.  Hamilton  has  been  posing  for 
the  advertisements  of  Dobbs'  hats,  Stetson 
hats,  neckties,  socks,  cigarettes,  tooth  paste 
and  "other  sorts  of  wearing  apparel  for  men." 
My,  my,  the  boy  certainly  is  versatile! 

The  Great  Requisite:  I  gather  from  the  fore- 
going that  Mr.  Griffith  has  unearthed  another 
Koh-i-noor.  Although  I  would  like  to  see  Mr. 
Hamilton  posing  for  suspenders  and  ear 
trumpets  before  making  any  positive  predic- 
tions, his  repertoire  is  extensive  enough  to 
indicate  that  he's  reasonably  bonny.  And 
beauty  is  the  great  screen  requisite.  Why 
evade  the  fact?  Beauty  sells  motion  pictures 
just  as  it  sells  bathroom  fixtures,  coughdrops 
and  fruit  salts.  Yet  we  are  continually  reading 
that  beauty  is  not  essential  to  screen  success. 
It  certainly  is  prerequisite  to  stellar  attraction. 
A  gorgeous  frontispiece  will  hypnotize  the 
public  into  believing  the  contents  gorgeous. 
The  art  of  the  movie  player,  with  few  excep- 
tions, is,  as  Miss  Pearl  White  once  enounced, 
chiefly  bunk.  You'd  have  to  have  radio  ears  to 
catch  a  murmur  of  praise  for  the  art  of 
Valentino  if  the  person  of  the  signor  suddenly 
became  bald  and  fat.  Even  the  mighty  Mary 
Pickford  did  not  dare  show  a  muggy  face  in 
"Suds"  without  including  a  pretty  curl- 
tasseled  close-up.  I'll  believe  that  brains  count 
for  more  than  beauty  when  I  see  producers 
chasing  Irvin  S.  Cobb  with  a  contract  to  play 
sheiks. 


o 


^~5 


0 


The  No-Brows:  The  eyebrows,  as  Darwin 
points  out,  are  the  most  expressive  features  of 
the  face,  so,  accordingly,  movie  queens  pluck 
them  out.  [  continued  on  page  109 1 


How .  the  strange 
poems  from  a  small 
Indiana  town 
revealed  the  love  in 
the  heart  of 
Jimmy  Mahoney, 
slap'Stic\  comedian, 
for  the  little  girl 
on  the  threshold 
of  film  fame 


By 

Roy  Milton 

iuff 


Illustrated    by 

George 
van   Werveke 


"Between  us  we've  got  to  'make'  her — got  to,  do 
you  hear?"  said  Nancy.  "She's  young  and  pretty; 
full  of  dreams  and  imagination — you  can  do  a  lot 
with  her.     And  I'll  see  that  she  keeps  her  dreams" 


B 


ot 


ACK  in  1915  when  Nancy 
Knowles  found  her  career  as 
a  burlesque  "artiste"  threat- 
ened  by  fallen  arches, 
cracked  voice,  and  an  illy  distrib- 
uted excess  avoirdupois  she  took 
stock  of  her  assets  and  considered 
the  future:  One  hundred  dollars  in 

the  bank,  half  a  dozen  shabby  costumes,  half  a  hundred  shabby 
friends  —  and  a  wide  and  comprehensive  knowledge  of  the 
world's  cussedness.     Not  much  of  a  provision  for  old  age! 

But  wait!  There  was  daughter  Nita  in  a  convent  school 
down  in  New  Orleans.  She  hadn't  seen  Nita  for  two  years, 
but  when  last  seen  she  had  been  full  of  the  promise  of  beauty. 

Youth  and  beauty.  .  .  .  How  could  they  best  be  capitalized? 

The  "movies"!  .  .  .  And  there  was  old  Sam  Brewer,  one 
time  manager  of  the  Broadway  Belles  Burlesquers,  now  a 
director  for  the  Beaux  Arts  Film  Company  at  Los  Angeles. 

So  far,  all  right.  She  had  the  goods  and  she  had  found  a 
market — but  who  would  pay  the  freight?  It  would  take  money 
to  go  to  New  Orleans  and  get  Nita;  it  would  take  more  money 
for  the  two  of  them  to  go  to  Los  Angeles,  and  still  more  money 
after  they  got  there.  .  .  .  There  was  nothing  to  it,  she  would 
have  to  make  a  "touch"  somewhere! 


ar 


Stuff 


■n 


Carefully  she  searched  her  memory  for  some  one  that  would 
serve  as  an  "angel,"  but  the  prospects  were  discouraging.  All 
of  her  few  "friends  indeed"  were  "friends  in  need" — besides 
she  had  never  cast  much  bread  on  the  waters  of  her  past. 

Surely,  though,  there  must  be  someone;  someone  whose 
memory  of  her  was  at  least  half  gratitude — someone  she  had 
helped  unselfishly —      Then  she  thought  of  Jimmy  Mahoney. 

A  long  time  ago,  one  Mae  Mahoney— doing  a  "sister  act" 
with  Nancy  on  the  "three  a  day" — had  made  a  "mistake" 
with  some  headache  powders  and  left  Nancy  minus  a  partner 
and  plus  a  ten  year  old  boy  who  was  Mae's  one  bit  of  salvage 
from  a  disastrous  matrimonial  adventure.  Nancy  had  moth- 
ered the  boy  in  her  careless,  affectionate  way  until  she  could 
locate  and  subdue  his  elusive  male  parent,  and  the  boy  hadn't 
forgotten.  Each  Christmas  and  each  birthday  brought  some 
little  remembrance  from  the  boy  to  his  "other  Mommer." 

63 


A  long  lime  ago  Nancy 
found  herself  minus  a 
partner  in  the  "three  a 

day"  bid  plus  a  ten  year 
old  boy 


And  so  the  engagement  was 
made,  and  it  was  well  kept.  As 
she  had  promised,  Nancy  kept 
the  girl  away  from  all  disturbing 
influences  and  fed  her  constantly 
on  dreams  of  success  and  fame; 
old  Sam,  in  turn,  taught  her  all 
the  engaging  tricks  he  knew, 
cast  her  in  plays  containing  the 
right  amount  of  sure-fire  "hok- 
um," saw  that  her  appealing 
beauty  and  youthfulncss  were 
properly  displayed,  and  left  the 
rest  to  time  and  the  film  fans. 

Of  course,  Jimmy,  too,  had 
his  part  in  the  scheme,  but  he 
was,  so  to  speak,  chiefly  "Mister 
Props."  He  wasn't  much  help 
in  planning  and  working  out  the 
girl's  career,  but  there  were  lots 
of  "little  things"  that  he  could 
do:  Nita's  salary  was  small,  and 
gowns,  bungalows,  photographs 
—  "front"  in  general  —  cost 
money.  Little  things  like  that 
were  his  specialty.  So,  he  be- 
came "one  of  them,"  grew  a 
little  shabby,  moved  to  a  cheap 
boarding  house,  worked  a  little 
harder  —  even  doubled  for  pru- 
dent stars  in  dangerous  stunts — 
and  saw  that  the  "props"  were 
never  lacking.  He  was  useful 
in  other  ways,  too.  Young  and 
cheerful  and  absolutely  faithful, 
he  was  a  safe  companion  for 
Nita,  and  served  to  keep  her 
from  feeling  that  she  was  com- 
pletely exiled  from  her  world  of 
youth  and  play.  Nancy  was  al- 
ways glad  to  have  him  at  the 
bungalow;  and  to  Jimmy,  who 
had  never  known  a  "home" — 
well,  it  was  almost  too  good  to 
be  true. 


v>\>s    W£&  we'ift 


Last  Christmas  he  had  been  with  a  Los  Angeles  film  company 
doing  slap-stick  comedy,  and  he  had  said  that  he  was  doing 
well.  .  .  .  Perhaps  he  was  still  there. 

It  was  a  shame  to  impose  on  gratitude  of  that  kind,  but 
Nancy  couldn't  afford  the  luxury  of  such  fine  sentiments  just 
then,  so  she  wrote  him  telling  of  her  plans  and  needs. 

Quite  promptly  he  replied,  enclosing  a  check  for  five 
hundred  dollars. 

"Tickled  to  death,"  he  wrote.  "Anything  I  have  is  at  least 
half  yours.  Here's  five  hundred  I  had  laid  by  for  a  Spitzer 
roadster,  but  who  wants  a  gas  buggy  when  they  can  hitch  their 
wagon  to  a  star?  Get  'Her  Littleness'  out  of  that  convent 
and  bring  her  to  the  coast.  She  won't  have  to  sleep  on  a  depot 
bench  and  use  me  for  a  pillow  like  the  time  we  went  'bust'  at 
Des  Moines;  there'll  be  enough  in  the  old  sock  for  all  of  us. 
In  the  meantime,  I'll  look  up  old  Sam  Brewer  and  break  the 
news  to  him  that  he's  got  a  new  star  coming  up  from  the  sunny 
south"  .  .  . 

And — despite  the  press  agents'  fairy  stories  to  the  contrary — 
that's  why  and  how  Nita  Knowles  "broke  into"  the  pictures. 

WHEN  Nancy  brought  her  small  shy  daughter  to  Sam 
Brewer  and  browbeat  him  into  taking  her  into  his  com- 
pany, she  said  to  him : 

"While  she's  working,  she's  yours;  when  she's  off,  she's  mine. 
Between  us  we've  got  to  'make'  her — got  to,  do  you  hear? 
She's  young  and  pretty;  full  of  dreams  and  imagination — you 
can  do  a  lot  with  her.  And  I'll  see  that  she  keeps  her  dreams. 
I'll  keep  her  'up-stage'  from  the  kind  of  life  that  spoiled  me 
until  she  is  so  sure  of  herself;  so  proud  of  her  beauty  and  suc- 
cess that  our  rotten  old  world  can't  touch  her.  .  .  .  Our  star, 
Sam.     It's  up  to  us.     What  do  you  say?" 

6_i 


A1 


LMOST  from  the  first,  the 
girl  "got  over."  Even  in 
the  days  of  "atmosphere"  and 
thinking  parts  she  made  her 
presence  felt.  She  wasn't  an  artist,  of  course,  in  the  sense  the 
stage  defines  the  term,  but  she  had  something  that  art  cannot 
create  successfully;  something  that  many  real  artists  would 
give  half  their  technique  to  possess — she  had  "personality." 

The  "movie"  fan  of  those  days  was  not  a  particularly  erudite 
or  cultured  customer — to  the  most  of  him  art  was  only  skin- 
deep — but  he  knew  what  he  wanted,  and  when  he  got  it  he 
knew  how  to  ask  for  more.  A  year  after  Nita  first  appeared 
in  a  Beaux  Arts  film  these  silent  birds  began  talking  about  her 
with  their  eloquent  nickels  and  dimes,  and,  like  Oliver  Twist, 
they  all  talked  of  "more."  Of  course,  the  Beaux  Arts  people 
weren't  stampeded  by  that  demonstration — they  had  seen  too 
many  beginners  "flash  in  the  pan" — but  they  didn't  ignore  it, 
by  any  means,  and  step  by  step,  picture  by  picture,  they  moved 
her  up,  until  at  the  end  of  her  second  year  she  was  playing 
"leads,"  and  other  producers  were  making  cautious  inquiries 
about  her  contract  with  the  Beaux  Arts. 

Nancy  was  overjoyed  at  these  evidences  of  success,  but 
having  become  practical,  she  saw  that  the  girl's  salary  kept 
step  with  her  progress.  So  after  the  fifth  raise  in  salary  she 
announced  to  Jimmy  that  she  and  Nita  felt  competent  to  go 
ahead  on  "  their  own." 

"We  can't  ever  thank  you  enough  for  what  you've  done, 
Jimmy,"  she  said,  "but  we'll  never  forget  it,  and  you'll  get 
back  every  penny  you  let  us  have.  You've  been  a  good  boy — 
just  the  kind  of  a  boy  I'd  want  for  a  son.  I  hope  we  can  do 
something  to  help  you  some  day." 

"Pshaw,"  replied  Jimmy,  "it  wasn't  anything.  You're  all 
the  family  I've  got — smartest  Mommer  in  the  world,  and  the 
sweetest  little  sister  ever.  Why,  I'm  almost  sorry  to  find 
that  you  can  get  along  without  me." 

"That's  nice  of  you  and  I  know  you  mean  it,  but  sometimes 


u0h,  dear,"  sighed  the  little  man,  "I'm  sorry,  but  yot. 

have  come  too  late  to  see  Mister  Stanhope.     Mister 

Stanhope  is  dead,  sir'' 


I've  felt  kind  of  ashamed  of  leaning  on  you  so  heavy.     I  never 
had  the  heart  to  tell  Nita  where  the  monev  came  from." 

"No?" 

"No.  I  was  afraid  she  wouldn't  feel  right  about  it;  afraid 
maybe  she  would  lose  confidence  in  me  and  get  discouraged. 
But  I'll  tell  her  now." 

"No,  don't  do  that.  I  don't  want  her  to  feel  indebted  to 
me  in  that  way." 

"But  she  won't  mind,  now  that  we  know  you  won't  lose  by 
it.  She'll  feel  like  it  was  a  loan  from  a  big  brother — or,  if  you'd 
rather,  I'll  say  it  was  a  business  arrangement  all  the  time." 

"No,  please.  Let  it  go.  I  don't  want  her  to  think  it  was 
business;  and — "  he  paused  and  smiled  but  there  was  a  little 
white  ring  about  his  mouth,  " — and  I  don't  know  about  this 
'big  brother'  business.     Kids  grow  up,  you  know." 

"Why,  Jimmy!     What  do  you  mean?" 

He  hung  his  head  guiltily:  "I'm  afraid  something  sneaked 
in  when  I  wasn't  looking — nor  you,  either.  I'm  sorry,  on  your 
account,  but  I  couldn't  help  it — I  tried,  though." 

"Jimmy  Mahoney!     What  have  you  done?" 

"Nothing,  Nancy."  It's 
all  been  done  to  me.  It 
never  touched  her,  I'm 
sure." 

"Do  you  mean  to  say 
that  you  ■ —  mv  little 
girl—?" 

He  nodded:  "I  hate 
it,  Nancy,  but  I  couldn't 
help  it.    Didn't  know  in 

time Looks  like  I 

hadn't  played  the 
game,  but  I  have.  Never 
forgot  that  you  trusted 
me." 

"And  you  never  said 
anything  to  her  about — 
that—?" 

"Not  a  word." 

"And  you  think  she 
doesn't  know?" 

"Sure  of  it.  To  her 
I'm  just  the  rough  kid 
that  used  to  break  her 
dolls — grown  up  into  a 
slap-stick  comedian  who 
does  face-falls  to  make 
the  low-brows  laugh. 
She'd  probably  think  I 
was  joking  if  I  tried  to 
talk  about  love,  or  any- 
thing like  that." 

Nancy  patted  his 
bowed  head :  "I'm 
sorry,  honey — honest  I 
am,  but  maybe  it's  best 
for  her  to  feel  that  way 
about  it.  She's  so  young, 
and  she's  got  such  a 
wonderful  future  ahead 
of  her — almost  a  star 
now.  We  don't  count  so 
much — you  and  I — but 
she  must  have  her 
chance.  We  must  help 
her  and  protect  her — 
you  and  I — there's  no- 
body else  to  do  it." 

Any  display  of  emo- 
tion that  couldn't  be 
turned  into  a  laugh  went 
hard  with  those  two,  so 
they  guiltily  got  away 
from  the  subject,  but 
they  understood  each 
other  perfectly  and  both 
knew  that  Jimmy  had 
betrayed  himself  into  ex- 
ile; knew  that  never 
again  would  he  "belong" 
within  the  guarded  circle 
about  the  star-to-be. 


He  voiced  his  knowledge  of  that  when  they  parted:  "Of 
course  you  won't  tell  her  anything  about — what  we've  talked  of?" 

"Oh,  no.     Of  course  not." 

"And  maybe  I'd  better  not  come  out  to  the  house  any  more?" 

"Just  as  you  think  best,  Jimmy.     I  trust  you,  you  know." 

"Yes,  I  know.  .  .  .  Well,  if  she  asks  about  me,  you  can  tell 
her  anything  you  like.  You  can  tell  by  the  way  she  asks 
what'll  be  best  to  tell  her." 

"Yes,  I  can  tell.  But  I  don't  think  I'll  have  any  trouble 
explaining.     I'll  say  we're  all  so  busy — or  something  like  that." 

"All  right,  you  fix  it  up.  But  some  day  I'd  like  to  have  you 
tell  her  how  it  really  was — some  day  when  it  won't  matter." 

"I'll  do  that,  Jimmy — some  day." 

Nita  was  mighty  busy  those  days  and  she  had  a  great  many 
things  to  think  of,  but,  somehow,  it  didn't  take  her  long  to  note 
Jimmy's  defection  and  comment  on  it. 

"What's  the  matter  with  Jimmy,  mamma?  He  hasn't  been 
to  see  us  for  ages." 

"I  don't  know.     Busy,  I  guess.     Or,  maybe  he's  got  a  girl." 

Nancy  tried  to  toss  it  off  carelessly,  but  she  looked  grim  and 
hard.  She  hadn't  liked  the  plaintive 
note  in  the  girl's  voice. 

"I  don't  believe  it!"  said  Nita  indig- 
nantly. "He  doesn't  run  after  girls. 
He  likes  us  better  than  any  old  girl!" 

[  CONTINUED  ON  PAGE  97  ] 


65 


Cross  section  of  a  movie  fan's  first  impression  of  a  film  studio 


WHEN  you  first  step  into  a  studio  you  are  liable  to  think 
you  have  stumbled  by  mistake  into  the  cabinet  of  Dr. 
Caligari.  Streaks  and  spots  of  blinding  light,  a  fantastic 
jumble  of  ropes  and  cables,  a  cubistic  maze  of  flats  that  are 
trying  to  give  a  realistic  setting,  an  organ  playing  "Rock  of 
Ages"  and  a  violin  screaming  "Jazz  Baby,"  while  in  one  corner 

66 


a  woman  sobs  with  a  breaking  heart  and  in  another  a  girl 
dances  madly  on  a  table.  The  nightmare  following  a  fan's 
first  day  is  as  wild  as  a  chop-suey  eater's  dream.  Oh,  if  the 
silent  drama  could  only  be  silent  in  the  making!  To  spare 
you,  we  have  reproduced  the  above  impression  of  an  artist 
after  he  had  penetrated  the  studio  mysteries. 


The  Shadow  Stage 


(REG.  U.  S.  PAT.  OFF.} 


A   REVIEW   OF    THE    NEW    PICTURES 

By  Frederick  James  Smith 


DOUBTLESS  the  most  interesting  event  of  the  month 
was  the  smashing  comeback  of  Charlie  Ray.  Once 
again  he  is  the  sensitive  homespun  country  boy.  This 
time  it  is  in  "The  Girl  I  Loved,"  built  around  a  poem 
of  James  Whitcomb  Riley.  His  Johnny  Middlclon  seems  to 
us  to  be  his  best  screen  characterization,  a  fine  realization  of 
the  promise  he  first  revealed  in  "The  Coward." 

There  is  little  to  "The  Girl  I  Loved."  Just  the  unreturned 
love  of  a  boy  for  his  foster  sister.  A  tragedy  of  adolescent 
love  is  this;  unde  via  ting,  save  for  the  odd  day  dreams  of  the 
lad  when,  in  his  fancy's  eye,  he  overcomes  his  rival  and  cap- 
tures the  heart  of  Mary.  These  day  dreams  are  told  in  straight- 
away camera  fashion  and,  if  your  imagination  is  halting,  they 
may  disconcert  you.  To  us  they  are  delightful  in  their  boyish 
psychology. 

Most  of  the  critical  authorities  have  disagreed  radically  upon 
"The  Girl  I  Loved,"  the  main  portion  of  this  division  centering 
around  Ray's  performance.  Some  of  the  critics  declared  that 
the  star  overacted.  But,  to  us,  the  performance  carried  com- 
plete conviction.  Here  is  puppy  love  torn  upon  the  rack. 
And  Ray's  Johnny  has  sublety,  humor  and  a  fine  tenderness. 
It  is  as  redolent  of  the  soil  as  the  barn  dance  which  forms  its 
chief  interlude  of  action — and  is  as  inherently  American. 
Certainly,  Ray  gives  a  superb  cross-section  of  the  boy  mind. 
Don't  miss  that  gorgeous  flash  of  thought  as  Johnny  takes 
Mary  upon  her  first  canoe  ride. 

There  are  exquisite  stretches  of  countryside  lurking  before 
the  camera  most  of  the  time.  And,  aside  from  Ray's  playing, 
you  will  find  Patsy  Ruth  Miller — as  the  girl  o'  dreams — both 
charming   and    compelling. 

We  present  "The  Girl  I 
Loved"  for  your  considera- 
tion as  a  little  gem  of  the 
screen  well  worth  while.  It 
has  an  elusive  appeal,  a  di- 
rectness and  a  sweetness  rare 
to  filmdom  these  days. 

TRULY  this  is  a  man's 
year  on  the  screen.  Cer- 
tainly the  past  month  was 
completely  masculine.  There 
was,  for  instance,  high  inter- 
est in  Richard  Barthelmess' 
excursion  into  the  field  of 
romance  in  Joseph  Herges- 
heimer's  "The  Bright  Shawl." 

This  is  a  colorful  tale  of  an 
American  in  the  midst  of 
Cuban  revolution  against 
Spanish  oppression  a  genera- 
tion ago.  For  motion  picture 
purposes  it  has  picturesque- 
ness — but  little  else.  The 
chief  character  is  a  negative 
one,  tossed  about  by  intrigue 
and  circumstance.  Mr.  Bar- 
thelmess plays  him  with  his 
usual   care  and   intelligence. 

The  critics  were  divided 
upon  Dorothy  Gish's  playing 
of  the  Spanish  dancer,  La 
Clavel.  Some  praised  her 
highly.  Certainly  her  char- 
acterization is  not  the  indo- 
lent, passionate  creation  of 
Hergesheimer's  fancy.  Her 
La  Clavel  is  an  Andalusian 
hoyden.  We  prefer  the 
Hergesheimer  conception. 


The  honor  of  the  best  performance  of  the  month  goes 
to  Charlie  Ray,  for  his  tender  and  sympathetic 
playing  of  the  country  boy  in  "The  Girl  I  Loved" 


There  are  several  minor  roles  distinctly  well  played.  William 
Powell's  Spanish  captain  has  poise  and  distinction.  And  Jetta 
Goudal's  half  caste  Chinese  vampire  reveals  an  intriguing  per- 
sonality. John  Robertson's  direction  has  invested  the  screen 
adaptation  with  charm  and  an  elusive  atmospheric  appeal. 
But  of  dramatic  strength  there  is  not  overmuch. 

BAYARD  VEILLER'S  melodrama,  "Within  the  Law,"  has 
been  done  before  on  the  screen.  This  story  of  the  innocent 
shopgirl,  railroaded  to  prison,  who  starts  out  to  wreak  ven- 
geance upon  those  who  have  wronged  her,  always  keeping  inside 
the  law,  was  highly  effective  behind  the  footlights.  We  have 
forgotten  Alice  Joyce's  playing  of  Mary  Turner  in  the  earlier 
celluloid  version  but  Norma  Talmadge's  performance  in  this 
adaptation  leaves  us  cold.  Miss  Talmadge,  like  many  of  our 
established  stars,  seems  afraid  to  act.  Here  she  seems  more 
concerned  with  photographic  values  than  with  making  Mary 
Turner  live.  Indeed,  her  conception  borders  on  the  saccharine. 
Oppressed  by  the  police  or  plotting  her  enemies'  ruin,  her  Mary 
Turner  is  just  too  sweet  for  anything.  And  never  are  you 
allowed  to  forget  that  she  is  big  hearted  and  a  perfect  lady. 

LIKE  "Within  the  Law,"  Rex  Beach  s  "The  Ne'er-do- Well" 
has  been  done  in  motion  picture  before.  The  new  Thomas 
Meighan  version  does  not  reveal  this  star  at  his  best.  There 
are  several  reasons  why  Meighan  does  not  shine  in  the  Beach 
tale  of  a  harum-scarum  boy  who  is  shanghaied  at  the  instigation 
of  his  wealthy  father  and  thrown  upon  his  own  in  Panama. 
The  adventure  is  badly  told  on  the  screen,  moving  haltingly 

and  episodically.  Meighan  is 
not  at  his  best  as  a  spend- 
thrift college  bov.  The  whole 
"Ne'er-do-Welf"  hints  of  dif- 
ficulties in  getting  the  story 
to  the  screen  and  of  efforts  to 
bridge  them  over.  Most  of 
these  efforts  are  in  the  sub- 
titles but  there  are  curiously 
obvious  studio  "exteriors" 
sandwiched  in  among  the  real 
Panama  shots. 

ANOTHER  come-back  of 
the  month  was  that  of 
Herbert  Brenon,  who  took  a 
frail  and  trite  story  in  "The 
Rustle  of  Silk"  and  developed 
it  into  a  thing  of  charm  and 
appeal — a  well-bred  picture 
of  British  life. 

Brenon  has  succeeded  in 
telling  his  slight  story  with 
good  taste  and  imagination. 
Under  his  direction  Betty 
Compson  plays  the  girl  with 
a  fine  sympathy. 

"npHE  Abysmal  Brute"  is 
JL  a  Jack  London  yarn  of 
the  prize  ring.  Reginald 
Denny,  who  has  been  doing 
a  hero  of  the  squared  circle 
in  a  series  of  "Leather 
Pusher"  short  film  plays, 
steps  into  this  feature  as  the 
pugilistic  charmer.  This  has 
swift  movement,  skillful  di- 
rection by  Hobart  Henley  and 
an  interestingly  vigorous  per- 
sonality in  Reginald  Denny. 

67 


The  National  Guide  to  Motion  Pictures 


THE  RUSTLE  OF  SILK— Paramount 

THIS  Cosmo  Hamilton  triangle  of  a  British  statesman, 
his  unfaithful  wife  and  an  adoring  lady's  maid,  who  loves 
the  national  idol  from  afar,  isn't  much  of  a  drama.  Yet 
Herbert  Brenon  has  told  it  with  fine  taste  and  discretion. 
There  are  at  least  several  instances  of  directorial  excellence. 
Brenon  has  introduced  a  duplicate  of  the  Balieff  Chauve- 
Souris  into  his  society  entertainment.  His  scenes  in  and 
about  the  London  Ritz  are  carefully  handled.  So,  too,  are 
the  difficult  Parliament  shots.  And  there  are  many  flashes 
revealing  the  mental  processes  of  his  characters.  Altogether, 
this  is  a  frail  thing  admirably  done.  The  three  central  roles 
are  excellently  played  by  Betty  Compson,  who  has  not 
been  more  appealing  in  several  years,  Anna  Q.  Nilsson  and 
Conwav  Tearle. 


WITHIN  THE  LAW— First  National 

THIS  production  of  Bayard  Veiller's  melodrama  has 
everything  save  inspiration.  The  production  is  expen- 
sive, the  cast  is  a  series  of  big  names,  the  direction  is  ade- 
quate. And  yet  the  melodrama  lacks  something  vital. 
We  put  this  to  Norma  Talmadge's  playing  of  Mary  Turner. 
Miss  Talmadge  seems  afraid  to  act,  not  an  uncommon  ail- 
ment these  days  among  our  stars.  There  is  hardly  a  sug- 
gestion of  the  emotional  Mary  Turner  of  the  stage  originator, 
Jane  Cowl.  This  Mary  gives  you  no  doubt  about  her 
sweetness,  her  dignity,  and  her  ability  to  look  photographic- 
ally smart.  What  the  screen  needs  is  something  to  upset 
our  stellar  restraint.  Actually  the  best  acting  of  "Within 
the  Law"  is  that  of  Lew  Cody  as  the  crook,  Joe  Garson,  and 
Helen  Ferguson  in  her  brief  moments  as  a  shop  girl. 

KB 


PHOTOPLAY'S  SELECTION 

OF  THE  SIX  BEST 
PICTURES  OF  THE  MONTH 


THE  GIRL  I  LOVED 
THE  BRIGHT  SHAWL 
THE  NE'ER-DO-WELL 

WITHIN  THE  LAW 
THE  RUSTLE  OF  SILK 
THE  ABYSMAL  BRUTE 


THE  BRIGHT  SHAWL— First  National 

THIS  production  of  Joseph  Hergesheimer's  highly  colored 
tapestry  of  revolutionary  days  in  Cuba  a  generation 
ago  marks  an  interesting  milestone  in  the  career  of  Richard 
Barthelmess.  It  is  his  first  stellar  venture  into  the  field  of 
the  costume  drama.  The  result,  under  the  careful  guidance 
of  John  Robertson,  is  a  pretty  play  of  distinct  atmospheric 
charm.  "The  Bright  Shawl,"  as  Hcrgesheimer  wrote  it, 
was  a  tale  of  Havana  intrigue,  with  Cuban  strugglers  for 
liberty  on  one  side  and  soldiers  of  Spanish  oppression  on  the 
other.  Into  this  maelstrom  was  dropped  Charles  Abbot!,  a 
young  American  who  attaches  himself  to  the  Cuban  cause. 
He  is  largely  the  pawn  of  circumstances  (which  make  him 
a  negative  screen  character)  but  he  moves  among  a  maze 
of  interesting  folk,  including  one  of  Hergesheimer's  most 
picturesque  creations,  La  Clave!,  a  dancer  of  old  Andalusia. 
Another  is  Pilar  de  Lima,  a  pretty  but  sinister  half  caste 
Peruvian-Chinese  spy. 

Barthelmess  does  surprisingly  well  with  his  character  of 
Charles  Abbott.  Into  it  he  puts  all  his  technique  and  intelli- 
gence— and  no  young  actor  has  more  of  either.  But  he 
never  can  quite  overcome  the  negative  quality  of  the  role. 
Dorothy  Gish  is  La  Clavel,  but  not  the  dancer  as  Herges- 
heimer  painted  her.  Still,  it  is  a  surprising  departure  for 
the  "little  disturber"  and,  no  doubt,  will  interest  motion 
picture  followers.  We  should  have  preferred  Herges- 
heimer's La  Clavel  but  Miss  Gish's  version  will  be  more 
appealing  to  screen  audiences,  we  suspect.  Jetta  Goudal, 
the  Pilar,  may  or  may  not  be  a  film  find.  Seemingly  she 
had  a  distinct  film  personality.  One  of  the  real  hits  is 
William  Powell's  dashing  Spanish  officer. 


Saves  Your  Picture  Time  and  Money 


PHOTOPLAY'S  SELECTION 

OF  THE  SIX  BEST 
PERFORMANCES  of  the  MONTH 

Charles  Ray  in  "The  Girl  I  Loved" 

Richard  Barthelmess  in  "The  Bright  Shawl" 

Betty  Compson  in  "The  Rustle  of  Silk" 

Patsy  Ruth  Miller  in  "The  Girl  I  Loved" 

William  Powell  in  "The  Bright  Shawl" 

Anna  Q.  Nilsson  in  "The  Rustle  of  Silk" 

Casts  of  all  pictures  reviewed  will  be  found  on  page  in 


THE  GIRL  I  LOVED— United 

HERE  is  the  naive,  boyish  Charlie  Ray  back  again. 
Indeed,  the  star  makes  an  amazing  come-back  in  this 
celluloid  version  of  a  James  Whitcomb  Riley  poem,  "The 
Girl  I  Loved."  Ray  has  made  no  effort  to  transpose  the 
slender  thing  into  terms  of  film  melodrama.  Actually, 
"The  Girl  I  Loved"  has  no  hero  and  no  villain.  It  still 
stands,  a  fragile,  wistful  little  lyric  of  a  country  boy  who 
loves  his  foster  sister.  He  never  wins  her  heart  and  the  end 
of  the  silversheet  romance  finds  him  alone  in  the  church,  in 
tears  as  the  girl  of  his  heart  and  her  new  husband  ride  away 
down  the  dusty  country  road.  Just  a  little  tragedy  of 
puppy  love — and  yet  poignant  through  the  admirably  un- 
restrained playing  of  Ray.  Here  is,  to  our  way  of  thinking, 
the  best  performance  of  the  screen  year,  superb  in  its  human- 
ness  and  its  tenderness. 

For  students  of  technique  there  will  interest  in  the  way 
two  day  dreams  are  handled.  Here — in  his  boyish  imagina- 
tion alone — the  lad  triumphs  over  his  rival.  "The  Girl  I 
Loved"  is  really  Ray's  best  vehicle  since  "The  Old  Swim- 
min'  Hole" — and  a  far  better  effort  cinematographically 
than  that  gem.  Altogether  it  was  a  courageous  thing  to 
film,  for  Ray  has  dared  to  tell  his  hoosier  tale  of  adolescence 
without  the  usual  things  considered  necessary  to  the  screen. 

We  cannot  recommend  "The  Girl  I  Loved"  too  highly 
and  yet  we  realize  that  there  will  be  those  who  will  be  cold 
to  its  charm.  But,  if  there  is  still  a  note  of  elusive  youth  in 
your  heart,  it  will  touch  and  move  you.  Here  is  a  motion 
picture  play  which  can  be  recommended  without  a  single 
qualification  to  the  entire  family.  It  deserves  your  atten- 
tion and  support. 


THE  NE'ER-DO-WELL— Paramount 

MANY  photoplays  have  passed  since  Selig  first  produced 
Rex  Beach's  "The  Ne'er-Do-Well."  Now,  however, 
Thomas  Meighan  has  remade  it  into  a  stellar  vehicle.  The 
result  is  not  altogether  successful,  nor  is  it  altogether  unin- 
teresting. The  story  is  told  with  curious  confusion.  The 
escapades  of  Kirk  Anthony  lead  to  his  being  deposited, 
penniless,  in  Panama  upon  orders  of  his  wealthy  father.  Of 
course,  he  proves  himself,  despite  the  fact  that  he  nearly 
gets  involved  in  the  matrimonial  difficulties  of  a  philander- 
ing wife.  All  this  moves  in  episodes,  employing  a  comedy 
black  face  comedian,  comic  opera  Central-Americans  and  a 
melodramatic  jealous  husband.  All  of  which  spells  a  picture 
drama  unreal  and  artificial.  Moreover,  "The  Ne'er-Do- 
Well"  seems  distinctlv  old  fashioned. 


THE  ABYSMAL  BRUTE— Universal 

THIS  is  the  story  of  a  boy  who  was  raised,  by  his  ex-prize 
fighting  father,  to  be  a  champion.  A  woman-shy  young 
man  with  a  wallop  in  his  right  fist  and  a  come-hither  in  his 
eye.  When  he  falls  in  love  he  falls  hard — though  the  object 
of  his  affection  is  the  daughter  of  a  rich  man  and  something 
of  a  social  light  herself.  The  boy,  despite  his  lack  of  polish, 
is  both  a  gentleman  and  a  real  person.  He  proves  it  by  win- 
ning the  girl  without  sacrificing  the  career  that  was  planned 
for  him.  The  picture  was  taken  from  a  yarn  by  Jack  London 
— and  the  characters  are  all  drawn  so  well  that  they  might 
have  stepped  from  the  original  manuscript.  Reginald 
Denny  makes  a  hero  who  is  both  manly  and  appealing.  And 
Hobart  Henley's  direction  is  practically  flawless.  This  is  a 
picture  for  everybody. 

69 


YOU  CAN'T  FOOL  YOUR  WIFE— Paramount 

MUCH  money  wasted  upon  an  absurd  story.  Again  the 
husband  on  the  edge  of  the  restless  forties,  the  neg- 
lected wife  and  the  regulation  vampire,  but  the  indiscre- 
tions are  censor  proof.  Laid  amid  the  usual  railroad  terminal 
homes  of  the  wealthy.  A  bootleggers'  ball  in  the  Bermudas 
thrown  in  to  brace  the  tottering  tale.  Many  prominent 
players  are  wasted,  Leatrice  Joy  alone  approaching  sincerity. 


THE  GO-GETTER— Paramount 

THIS  Cosmopolitan  story,  that  was  responsible  for  a  new 
term  in  the  American  language,  has  lost  much  of  its  pep 
during  the  journey  between  magazine  page  and  screen. 
Aside  from  that,  it  is  a  well  rounded  and  pleasant  narrative 
of  an  ex-doughboy  and  that  delightful  character  of  twen- 
tieth century  fiction,  Cappy  Ricks.  Cappy's  obviously 
crepe  beard  is  a  false  note.    Oh,  decidedly! 


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PRODIGAL  DAUGHTERS— Paramount 

ANOTHER  celluloid  tirade  against  the  jazz  babies  of  1923 
who  insist  upon  living  as  they  like.  This  time  it  is 
adapted  to  the  girl  who  leaves  the  old  homestead,  only  to 
return  for  forgiveness  in  the  heavy  snowstorm  at  Christ- 
mastime. The  old  farm  here  becomes  a  smart  city  maison. 
Flying  machines,  Greenwich  Village  parties,  rolled  stockings, 
cigarettes  and  radio  jazz  tossed  in  for  good  measure. 


THE  Nth  COMMANDMENT— Paramount-Cosmopolitan 

THE  "Humoresque"  combination  of  Fannie  Hurst, 
Scenarist  Frances  Marion  and  Director  Frank  Borzage 
doesn't  work  out  here.  The  result  is  flat.  The  human  note 
is  missing.  Here  we  are  given  the  story  of  the  brave  little 
girl  who  struggles  to  maintain  her  home  when  her  husband 
falls  desperately  ill,  with  the  usual  bleak  Yuletide  which 
develops  unexpectedly  into  a  cheery  one. 


SIXTY  CENTS  AN  HOUR— Paramount 

WALTER  HIERS'  second  starring  vehicle  is  even 
better  than  the  first.  It  tells  the  story  of  an  ambitious 
soda  clerk  in  a  booming  California  town.  This  clerk  plans 
to  marry  the  daughter  of  the  bank  president,  and  go  into 
business — all  on  seven-fifty  a  week.  Part  of  his  campaign 
consists  of  Sunday  rides  in  a  hired  flivver  that  costs  sixty 
cents  an  hour.     A  riot  of  laughter — from  start  to  finish. 

70 


TRIFLING  WITH  HONOR— Universal 

THIS  story  is  about  a  home-run  king  who  resembles  Babe 
Ruth  in  more  ways  than  one.  This  man  has  become  the 
idol  of  the  small  boys  of  America,  through  a  story  of  his  life 
written — for  a  syndicate — by  a  clever  young  reporter.  In- 
tensely dramatic  is  the  way  in  which  the  man's  life  is 
remodeled,  and  how  he  wins  back  to  honor  because  of  an 
ideal.    One  of  the  best  of  the  month. 


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BAVU—  Universal 

THIS  tale  of  Bolshevic  Russia  is  not  nearly  so  gripping  as 
it  might  have  been — for  some  of  the  situations  are  de- 
cidedly artificial,  and  the  sets  are  always  just  sets.  But 
Wallace  Beery  looks,  and  usually  acts,  like  a  doubled-dyed 
villain.  And  Forrest  Stanley  is  so  heroic  that  the  sixteen- 
year-olds  will  love  him — that  is,  if  they  are  permitted  to  see 
this  gory  picture! 


VENGEANCE  OF  THE  DEEP— American  Releasing  Co. 

UNDER  SEA  photography  never  ceases  to  be  mysterious 
and  thrilling.  This  story  of  pearl  diving  and  intrigue, 
of  love  and  jealousy,  may  be  loosely  constructed  and  weak; 
but  it  has  its  stupendous  moments  because  of  the  life  that 
goes  on  beneath  the  ocean.  Sharks,  devil  crabs,  sea  weed 
and  treasure  chests  make  the  scenes  exciting  and  different. 
But  when  the  actors  get  on  dry  land! 


WESTBOUND  LIMITED— Film  Booking  Offices 

A  HOMELY,  sympathetic  story  built  around  a  railroad 
and  the  men  who  are  the  soul  of  it.  The  president's 
family  and  the  family  of  an  engineer,  linked  together  by 
circumstances,  form  the  basis  of  a  satisfactory  and  easy  to 
understand  plot.  There  are  the  usual  railroad  climaxes — 
but  they're  so  well  done  that  they  don't  seem  too  usual. 
There's  a  love  interest,  too — but  it's  hardly  necessary. 


A  NOISE  IN  NEWBORO— Metro 

THE  story  of  the  town  Cinderella  who  goes  to  New  York 
and  with  the  aid  of  art  and  Wall  street  cleans  up  a  for- 
tune. She  comes  back  to  Newboro  and  makes  a  Big  Noise. 
A  weak,  farcical  mixture  that's  gingered  up  by  Viola  Dana. 
What  an  expert  little  charmer  she  is!  Without  her  bijou 
personality  flashing  through  the  maze,  "A  Noise  in  New- 
boro" would  have  been  little  more  than  a  groan. 


THE  GIRL  WHO  CAME  BACK—Al  Lichtman 

SHE  doesn't  come  back,  really — except  that,  in  the  last 
reel,  she  returns  to  her  native  land — which  isn't  exactly 
what  the  title  means.  But  she  gets  diamonds  and  two  hus- 
bands— not  at  the  same  time,  however — so  everybody's 
happy.  Except  the  audience — and  no  audience  should  be 
expected  to  swallow  anything!  Some  of  the  prison  scenes 
are  verv  fine,  and  there's  a  de  Milleish  party. 


CORDELIA  THE  MAGNIFICENT— Metro 

BLACKMAILING  in  high  society — and  everybody  doing 
it,  from  lawyers  and  butlers  to  beautiful  young  ladies. 
The  plot  revolves,  not  too  rapidly,  around  a  girl  who  loses 
her  fortune  and  is  forced  to  earn  her  own  living.  This  she 
does  by  becoming  the  confidential  agent  of  a  scheming 
business  man — the  blackmailing  that  she  does  is  uncon- 
scious, at  least.         Badly  adapted,   [continued  on  page  ioi] 

•      71 


WHERE  THE  LLOYDS  LIVE- 

It's  a  pretty  big,  dignified  sort  of  a  home  for  two  such  joyous  and  informal  people  as 
Mildred  and  Harold  Lloyd.  But,  oh,  isn't  it  white  and  fresh  and  bridey  looking? 
Jvst  imagine  starting  to  keep  house  in  the  midst  of  such  spic-a?id-spa?i  newness? 
The  vase— it  looks  like  a  much  magnified  loving  cup — was  imported  from  Italy. 
The  work  of  Cappi  di  Mente,  and  valued  at  $4,000.  It  is  considered  one  of  the  finest 
of  its  type  in  the  world,  yet  it  guards  the  rear  entrance  of  the  mansion.  Harold's 
comedy  sense  at  work,  again! 


So  This  is  "Lawful  Larceny"? 


At  least  it's  a  scene  from  the  forthcoming  production,  "Law- 
ful Larceny,"  with  Director  Allan  Dwan  acting  as  first  aid 
to  Nita  Naldi  and  Lew  Cody  in  their  vamping  moment. 


12 


Mary  Carr  as  Nellie 
Wayne  at  thirty 


The  famous  P.  T.  Barnum, 
who  developed  that  essen- 
tially American  institution 
of  amusement,  the  circus, 
to  its  highest  point,  is  an 
important  character  of 
Mary  Carr's  production 
"Broadway  Broke."  Be- 
low you  may  observe 
Maclyn  Arbuckle's  con- 
ception of  the  immortal 
Phineas  Taylor  Barnum 


Mary  Carr 

in  Three 
Generations 


THE  famous  old  Daly's  Theater,  around  which 
clustered  more  theatrical  history  and  tradition 
than  any  other  playhouse,  has  been  perpetuated. 
And  this  in  spite  of  the  fact  that  the  theater 
tself  is  no  more  and  that  its  noted  manager,  Augustin  Daly, 
has  long  since  been  gathered  to  his  fathers. 

It  remained  for  J.  Searle  Dawley.to  revive,  not  only  memories 
of  old  Daly's,  but  the  theater  itself  in  his  picture,  "Broadway 
Broke."  With  Mary  Carr,  the  "greatest  mother  of  the  screen," 
as  his  star,  Mr.  Dawley  has  made  the  screen  version  of  Earl  Derr 
Biggers's  story  of  the  old  actress  who  is  "Broadway  broke."  Into 
this  story  Mr.  Biggers  has  written  theatrical  Broadway,  with  all 
its  joys  and  sorrows,  its  hopes  and  fears,  its  lights  and  its  shadows. 
The  old  playhouse,  the  passing  of  which  tore  a  great  page  from 
the  history  of  the  theater,  was  reconstructed  by  Mr.  Dawley. 
The  picture  shows  the  front  of  the  old  house,  with  its  slender 
pillars,  broad  steps  and  flickering  gasjets.  It  takes  the  spectator 
inside,  up  to  the  beautiful  lobby  on  the  second  floor,  which  was 
the  gathering  place  for  years  of  all  the  greatest  and  best  in  the 
social,  political  and  theatrical  worlds  of  New  York.  And  it  takes 
him  also  back  stage  to  the  Green  Room,  where  reigned  supreme 
the  great  Daly  himself  and  his  stars,  with  Ada  Rehan  at  their 
head. 

But  Mr.  Dawley  has  not  stopped  here.  In  the  theater  he  has 
placed  many  of  the  noted  characters  of  two  score  years  ago,  men 
and  women  who  were  known  to  our  fathers  and  grandfathers, 
such  as  Phineas  Taylor  Barnum,  the  "world's  greatest  show- 
man"; Gen.  U.  S.  Grant  and  his  wife,  Julia  Dent  Grant;  Gen. 
William  Tecumseh  Sherman,  hero  of  the  "March  to  the  Sea"; 
Samuel  L.  Clemens,  better  known  as  Mark  Twain;  and  Augustin 
Dalv  himself. 


Mary  Carr  as  Nellie 
Wayne  at  sixty-five 


General  U.  S.  Grant  is 
another  vital  character  of 
"Broadway  Broke."  Grant 
was  one  of  the  great  Amer- 
icans of  this  interesting 
era  of  American  history, 
the  period  following  the 
Civil  War.  Just  below  we 
present  Albert  Phillips  in 
his  portrayal  of  the  famous 
general  in  "Broadway 
Broke" 


73 


Gossip 


A  LITTLE  group  of  nuns  gathered  to  bid 
■*  *■  farewell  to  a  beautiful  American  girl  as 
she  emerged  from  the  quiet  old  convent  of 
Hyeres,  France,  last  month.  The  girl  was 
Mi>-  Pearl  White.  Her  story  was  told  last 
month  in  Photoplay.  She  has  been  a  pen- 
sionnairc  at  the  convent  for  several  months, 
without  communicating  with  the  outer  world 
save  for  a  few  letters  to  intimate  friends,  in 
which  she  expressed  "the  contentment  that 
is  greater  than  happiness." 

When  entering  the  convent  Miss  White  said 
that  she  did  not  know  how  long  she  would 
remain.  She  emphasized  the  fact  that  she 
was  not  seeking  cloisteral  solitude  because 
she  loved  some  one  who  did  not  love  her. 
This  statement  was  taken  as  a  direct  reference 
to  her  romance  with  the  dashing  Duke  of 
Vallambrosa.  Some  of  her  friends  are  of  the 
belief  that  she  will  become  the  Duchess  when 
the  Duke's  divorce  has  been  settled.  But 
they  agreeed  that  her  purpose  in  entering  the 
convent  had  very  little,  if  anything,  to  do 
with  the  romance.  If  Miss  W7hite  marries 
the  duke,  she  will  receive  one  of  the  oldest 
family  titles  in  Europe,  Italian  in  origin  but 
now  regarded  as  French.  The  duke  is  hand- 
some, likable  and  a  real  war  hero  who  won 
medals  for  his  daring  as  an  aviator. 

A  SEVEN  minute  wooing  resulted  in  the 
■**•  marriage  of  Marjorie  Daw  and  Edward 
Sutherland,  with  Charlie  Chaplin  as  best  man 
and  Mary  Pickford  as  matron  of  honor,  making 
it  an  all-star  affair.  The  ceremony  was  per- 
formed at  Pickfair,  the  Fairbanks-Pickford 
home,  with  Rev.  Neal  Dodd  officiating. 

Eddie  Sutherland  is  the  nephew  of  Thomas 
Meighan.  He  has  appeared  in  leading  roles 
of  a  number  of  pictures,  but  recently  became 
an  assistant  director  for  Charlie  Chaplin. 

Marjorie  Daw,  whose  real  name  was  Mar- 
guerite E.  House,  made  her  screen  debut  under 
the  Goldwyn  banner.  She  was  heralded  as 
Geraldine  Farrar's  protege  by  the  publicity 
bureau,  although  Marjorie  later  said  she  had 
only  seen  Miss  Farraronce  or  twice  in  her  life. 

According  to  romantic  reports,  Eddie  espied 
Marjorie  standing  near  a  Chaplin  "set"  one 
morning.  Love  at  first  sight  overwhelmed  them 
both,  apparently,  for  within  seven  minutes  they 
had  decided  upon  the  date  and  details  of  their 
wedding. 

As  a  matter  of  fact,  they  have  been  friends 
for  several  years.  Only  a  short  time  ago  there 
were  rumors  of  an  engagement  between  Eddie 
and    May    McAvoy,  while    Marjorie's  name 


Three  of  America's  best  known  character 
actors  are  now  working  before  the  camera 
in  California.  Holbrook  Blinn,  center, 
is  playing  the  King  in  Mary  Pickford's 
"The  Street  Singer."  Harry  Mestayer, 
left,  is  the  heavy  in  Jane  Murfin's  "The 
Sign."  Emmett  Corrigan,  right,  has  a 
prominent  role  in  Marshall  Neilan's 
next  production 


was  being  linked  with  that  of  Dana  Todd. 
Denials  were  made,  and,  for  once,  denials 
were  honest.  The  bride  is  twenty-one,  and  the 
groom  is  twenty-six.  Both  are  real  favorites 
in  Hollywood. 

TAMES  KIRKWOOD  and  Lila  Lee  are  to  be 
J  married  in  October. 

Jim,  who  has  been  in  Hollywood  playing 
the  leading  role  in  Mrs.  Wallace  Reid's  picture, 
spends  all  his  spare  time  wandering  over  his 
hillside  estate  in  Beverly  Hills  and  planning 
the  home  he  is  to  build  there  for  Lila. 

The  story  that  Lila's  mother,  who  had  long 
disapproved  of  the  match,  relented  after  seeing 
Jim  in  "The  Fool" — declaring  that  he  must 
be  worthy  of  her  little  Lila  or  he  couldn't 
play  such  a  part  so  beautifully,  is  denied  in 
some  quarters,  but  the  fact  remains  that 
mother  has  relented. 

The  engagement  is  apparently  one  of  the 
screen's  real  love  matches.  When  separated, 
the  two  exchange  telegrams,  letters  and  long 
distance  messages  by  the  score  and  behave 
exactly  like  youngsters  in  their  first  courtship 
days. 

Kirkwood  has  signed  a  long  term  contract 
with  Goldwyn,  and  Lila  will  finish  her  Para- 
mount contract  soon,  so  the  Beverly  Hills 
home  seems  to  indicate  that  they  expect  to 
live  in  the  west  as  soon  as  the  wedding  takes 
place. 

HERBERT  SOMBORN  has  filed  suit  for 
divorce  against  his  wife,  Gloria  Swanson. 
According  to  Somborn,  who  charges  deser- 
tion, the  fair  Gloria  cared  much  more  for  her 
career  than  she  did  for  her  husband  and  when 
the  paths  of  love  and  ambition  divided,  she 
followed  the  path  of  ambition  without  a  back- 
ward glance.     The  case  will  be  tried  in  the  fall. 

PANNIE  WARD  is  returning  to  the  Amer- 
*•  ican  screen  to  play  the  leading  role  in  Ger- 
trude Atherton's  "Black  Oxen,"  a  character 
for  which  she  is  peculiarly  suited,  that  of  a 


East  6?  West 

By  Cal  York 


woman  who  at  an  advanced  age  underwent 
a  treatment  that  restored  her  youthful  beauty 
and  vitality.  Miss  Ward  is  a  woman  of  fifty 
but  has  the  appearance  of  twenty.  She  has 
undergone  several  operations  to  restore  the 
youthful  beauty  of  her  face,  and  recently  a 
story  was  cabled  from  abroad  to  the  effect  that 
she  had  undergone  the  Steinach  X-ray  treat- 
ment for  complete  rejuvenation,  similar  to  the 
one  described  in  "Black  Oxen."  This  may 
have  been  a  press  story  planted  to  arouse 
interest  in  her  prior  to  signing  contracts  for 
the  production.  Nevertheless,  Miss  Ward  is 
in  reality  the  very  person  for  the  part.  She  is 
an  adroit  actress,  too,  as  you  will  recall  if  you 
saw  her  in  "The  Cheat"  several  years  ago. 
That  story,  by  the  way,  is  the  same  one  which 
has  just  been  re-filmed  with  Pola  Negri  in  the 
star  r6le. 

Since  retiring  from  the  screen,  Miss  Ward 
has  lived  abroad  with  her  husband,  Jack  Dean. 
Through  an  inheritance  from  a  former  hus- 
band, an  African  diamond  mine  owner,  she 
became  a  very  wealthy  woman,  famous  for  her 
collection  of  jewels.  She  has  divided  her  time 
between  her  house  in  London  and  her  apart- 
ment at  the  Claridge  in  Paris. 

THE  players  of  the  Eastern  colony  recog- 
nized summer  socially  with  a  ball  in  the 
Grand  ballroom  of  the  Astor  hotel,  at  which 
Ethel  Barrymore  presided  as  queen.  She 
received  a  tremendous  ovation  when  she  swept 
regally  in,  her  iridescent  train  flowing  in  long 
silver  ripples  as  she  ascended  the  throne  to 
review  the  pageant.  The  affair  was  presented 
by  the  Actors'  Equity,  and  one  of  the  features 
was  a  May  Pole  minuet.  Madge  Kennedy 
and  Constance  Binney  were  among  the  danc- 
ers. Gloria  Swanson  attracted  particular 
attention,  as  she  is  seldom  seen  in  the  East. 
Mae  Murray.  Lila  Lee,  Tommy  Meighan. 
Mildred  Harris,  Hedda  Hopper  and  Ralph 
Ince  were  other  filmers  who  danced  during  the 
evening. 

BERT  LYTELL  gave  a  dinner  party  at 
Montmartre  as  a  farewell  to  Hollywood 
before  starting  East  to  star  in  six  Cosmopolitan 
pictures.  It  was  a  stunning  star  affair. 
Marshall  Neilan  led  off  the  dancing  with  wife 
Blanche  Sweet.  Mrs.  Bryant  Washburn, 
looking  very  smart,  was  with  Bryant.  And 
the  Vidors  appeared  together  for  the  first  time 
since  announcing  that  they  would  live  under 
separate  roof-trees — in  perfect  amity.  Rex 
Ingram  and  Alice  Terry  with  their  new  "  find," 


Edith  Allen  and  her  escort,  came  in  late  and 
took  a  table.  Rex,  espying  his  scenario 
writer,  Willis  Goldbeck,  seated  across  the 
room,  proudly  held  aloft  a  new  book  he  had 
just  acquired  that  evening.  The  title  was 
"Why  God  Loves  the  Irish."  He  then 
rushed  out  on  the  dance  floor  and  stole  Mae 
Murray  from  husband,  Bob  Leonard,  who  then 
joined  Miss  Terry  and  toddled  off  in  the  wake 
of  Frank  Mayo  and  the  sinuous  Dagmar 
Godowsky-Mayo  Connie  Talmadge  was 
much  in  evidence  shaking  her  bobbed  curls 
with  Sheba  glee.  Also  Viola  Dana,  Teddy 
Sampson,  Alice  Lake,  Corinne  Griffith,  Bessie 
Love.  Buster  Keaton  and  Natalie  Talmadge 
Keaton. 

THERE  is  considerable  interest  as  to  the 
outcome  of  Fatty  Arbuckle's  engagement 
to  dance  at  the  Marigold  Gardens  in  Chicago 
this  month.  It  will  be  something  of  a  judg- 
ment as  to  his  ability  to  stage  a  come-back. 
He  receives  $2,500  weekly,  guaranteed, 
against  a  percentage  of  the  receipts.  All  over 
$500  weekly  must  go  to  the  government  on 
account  of  a  back  due  income  tax  liability  for 
$30,000.  Fatty  is  practically  penniless,  and 
is  seldom  seen  at  the  cafes  or  along  the  boule- 
vards since  his  screen  return  was  voted  down. 

RUTH  ROLAND  having  completed  her 
Pathe  starring  contract  has  gone  into  the 
real  estate  business  in  Los  Angeles,  for  a  time 
at  least.  She  has  announced  that  she  will 
open  a  new  subdivision  in  the  Wilshire  district 
to  be  known  as  Roland  Square.  The  tract 
contains  two  hundred  lots,  with  many  thou- 
sands of  dollars'  worth  of  improvement.  Miss 
Roland  is  one  of  the  wealthiest  women  of  the 
screen,  and  her  real  estate  holdings  in  Los 
Angeles  net  her  a  big  income. 

"WILD RED  HARRIS  was  discharged  from 
■*• ''■'•bankruptcy,  and  her  creditors  were  singing 
her  praises  for  she  paid  up  every  cent  of  the 
$31,489.90  that  she  owed.  Most  of  the  debt 
was  incurred  for  purchases  of  jewels,  imported 
gowns,  hats  and  shoes.  Since  instituting  her 
petition  for  bankruptcy  last  October,  Miss 
Harris  has  had  several  engagements  in  pictures 
and  in  vaudeville,  thus  enabling  her  to  meet 
her  obligations. 

TOURING  Pola  Negri's  recent  illness,  follow- 
-*— 'ing  a  surgical  operation,  no  one  was  per- 
mitted within  the  gates  of  her  palatial  home 
except  the  Hon.  Charles  Spencer  Chaplin,  who 
stepped  out  of  his  car  every  day,  followed  by 
his  chauffeur  bearing  rare  flowers,  fruits  and 
sweetmeats  for  the  adored  tragedienne.  No 
wonder  the  crowds  lined  the  fence! 

YOUNG  DOUG  FAIRBANKS,  JR.,  age 
thirteen,  makes  it  plain  that  he  will  not  be 
a  sheik  in  his  pictures.  In  fact,  he  says  he 
will  refrain  from  kissing  any  lady  in  his  films, 


Barbara  La  Marr  is  now  Mrs.  Jack 
Dougherty.  They  were  married  early  in 
May  at  Ventura.  Dougherty  is  a  star  in 
two  reel  Westerns  for  Universal,  but  he 
is  accompanying  his  bride  to  Italy  for 
the  fdming  of  "The  Eternal  City,"  in 
which  she  has  the  leading  feminine  role 


hinting  that  he  has  left  his  affections  with  a 
sweetheart  in  England.  When  apprised  of 
the  rumor  that  his  father  would  seek  to  enjoin 
him  from  appearing  on  the  screen,  young 
Doug  merely  shrugged  and  reiterated  that  he 
was  bound  for  Hollywood  to  be  an  actor.  His 
mother,  Mrs.  James  Evans,  who  remarried 
shortly  after  her  divorce  from  Fairbanks, 
would  make  no  comment  as  to  her  son's  plans, 
but  intimated  that  a  screen  career  was  in 
order. 

A  LIST  has  been  compiled  by  the  women's 
-'"■clubs  of  the  country  that  is  supposed  to 
include  America's  twelve  most  distinguished 
women.  There  were  poets,  artists,  and  states- 
women,  more  or  less  known.  We  looked  for 
Mary  Pickford's  name.  It  wasn't  there,  so  we 
threw  the  list  into  the  waste  basket.  If  Mary 
isn't  one  of  our  most  distinguished  women, 
who  is? 

DOUG  and  Mary  have  become  gypsies  over 
the  week-ends.  There  is  a  nook  along  the 
Pacific  beach  where  they  hie  for  camping  ex- 
peditions every  now  and  then,  far  from  the 
maddening  movie  fame.  There  they  swim, 
race  the  beach  and  live  the  life  of  the  road. 
When  work  keeps  them  in  town  over  the  week- 
end they  go  for  horseback  rides  at  five  o'clock 
Sunday  morning.  Of  course,  the  Hollywood 
gossips  declare  that  this  is  just  part  of  an 
attempt  to  preserve  an  illusion  of  romance, 
but  I  doubt  it.  They  give  every  evidence  of 
being  pals — and  one  another's  severest  critic. 

JOHNNIE  WALKER  from  henceforth  will 
J  be  both  a  producer  and  a  star.  But  unlike 
most  stars  who  have  become  producers  he 
will  not  play  in  his  own  productions.  Eddie 
Polo,  Kathleen  Myers  and  Catherine  Bennett, 
sister  of  Enid  Bennett,  will  be  featured  in  the 
series  of  twelve  five-reelers,  to  lie  known  as  the 


Walker-Good  productions.  Johnnie's  partner 
in  the  enterprise  is  John  H.  Good,  formerly  of 
Youngstown,  O.,  but  now  living  at  La  Jolla, 
California.  While  supervising  these  produc- 
tions, Johnnie  will  continue  to  star  in  F.  B.  O. 
releases,  his  next  "The  Worm,"  purchased 
from  Charles  Ray,  who  has  decided  to  film 
only  such  stories  as  permit  of  elaborate  pro- 
duction. 

T>  ICHARD  HEADRICK,  the  five  year  old 
-*-*-youngster,  who  scored  his  first  big  film  hit 
in  John  M.  Stahl's  "The  Child  Thou  Gavest 
Me,"  has  returned  to  Mr.  Stahl's  fold  to  play 
in  "The  Wanters." 

UPON  completion  of  "The  Courtship  of 
Miles  Standish,"  Charles  Ray  took  a  trip 
to  Illinois,  with  Mrs.  Ray,  for  a  vacation.  He 
attended  the  motion  picture  convention  in 
Chicago. 

ONLY  Alice  Brady's  Irish  wit  saved  the 
night  for  her  play  "Zander  the  Great," 
when  it  opened  in  New  York.  For  one  thing, 
a  dog  which  was  supposed  to  have  died  in- 
sisted upon  barking,   in  a  healthy  baritone. 


A  notable  conference  in  Los  Angeles:  with  Mary  Pickford,  Douglas  Fairbanks  and 
Ernst  Lubitsch.    Mary's  new  picture,  "  The  Street  Singer,"  is  the  subject  of  debate 


75 


This  poetic  looking  player  is  Eosta  Ekman,  termed  the  Valentino  of  Siceden.    He 

has  been  engaged  to  come  to  America,  to  appear  in  one  picture  for  Goldwj/n.    In 

all  probability  it  will  be  a  screen  version  of  "Three  Weeks"  in  which,  by  the  way, 

Theda  Bara  may  return  to  the  screen 


And  a  Ford,  which  was  supposed  to  be  alive, 
gave  every  indication  of  being  dead  when  Miss 
Brady  went  to  pull  it  out  of  the  barn.  Alice 
pulled  so  hard  that  the  barn  tottered  and  al- 
most collapsed.  The  star  made  some  droll 
comments  which  drew  appreciative  applause 
from  the  audience. 

Y\7HEN  Chicorrito,  the  champion  picador 
W  of  Spain  and  the  world,  came  to  New 
York  on  his  way  to  Mexico  City  and  South 
America,  one  of  the  first  people  he  wanted  to 
meet  was  Texas  Guinan,  who  has  been  the 
star  of  many  Western  pictures  and  who  has 
been  nicknamed  the  "Girl  Bill  Hart."  He 
dropped  into  Photoplay  and  the  introduction 
was  arranged  and  before  they  had  been  talking 
half  an  hour  they  got  up  the  idea  of  a  great 
bull  fighting  exhibition  at  Madison  Square 
Garden.  All  the  ceremonies  of  the  bull  ring 
will  be  shown  exactly  as  they  are  held  in 
Madrid.  Chichotrio  has  a  record  of  being 
wounded  seventeen  times  but  never  had  a 
horse  killed. 

"D  A R BARA  LA  MARR  may  be  "too  beau- 
-*— 'tiful "  but  the  fact  hasn't  handicapped  her 
financially.  She  went  to  work  the  other  day 
in  "The  Master  of  Woman,"  a  Reginald 
Barker  production.     It  is  being  made  at  the 

7fi 


Louis  B.  Mayer  studio.  Barbara  worked  at 
that  studio  three  years  ago.  She  received 
ten  a  day,  now  she  is  getting  two  thousand  a 
week,  we  hear. 

A  NOTHER  foreign  invader. 
■*MVe  no  sooner  shake  off  the  German  and 
the  Latin  menace  than  Sweden  pounces  on 
us!  Eosta  Ekman  is  the  name  of  the  Swedish 
sheik  who  arrives  on  the  Goldwyn  lot  with  a 
contract.  And  everyone  is  wondering  if  he 
can  be  Ben  Hur.  Hollywood  will  never  return 
to  normalcy  until  after  the  election  of  Ben. 

Ekman  is  famous  in  films  and  theater  in 
Sweden.  Arriving  with  him  from  Stockholm 
was  Edith  Erastoff,  the  wife  of  Victor  Seas- 
trom,  the  Swedish  director  who  is  now  working 
for  Goldwyn. 

Miss  Erastoff  played  opposite  Mr.  Ekman 
at  the  Stockholm  theater. 

The  Swedish  gentleman  may  bring  the 
blonde  Nordic  type  into  popularity  in  the 
films.  He  is  very  fair,  blonde  hair  and  blue 
eyes.  "A  beautiful  boy,"  says  Director  Seas- 
trom.  "Too  beautiful — but  he  is  a  great 
actor,  and  never  hesitates  to  conceal  his  good 
looks  for  a  character  part  which  demands 
make-up." 

Learn  the  correct  pronunciation  of  his 
name,  ladies.     It's  "  Yosta  Akman." 


A  NITA  STEWART  has  confirmed  our 
•*  ^statement,  made  in  Photoplay  last 
month,  that  she  contemplates  a  divorce  from 
her  husband,  Rudolph  Cameron.  As  yet  she 
is  not  prepared  to  say  on  what  grounds  she 
will  seek  it,  but  it  is  said  to  be  incompatibility. 
The  star  has  returned  to  New  York  after 
making  "The  Love  Piker"  for  Cosmopolitan 
at  the  Goldwyn  studios  in  Hollywood.  She 
will  go  to  England  this  summer  to  appear  in 
scenes  of  "Vendetta,"  another  Cosmopolitan 
production. 

'"THE  stars  most  popular  last  year  among  the 
x  high  school  students  of  the  United  States, 
according  to  37,000  questionnaires  submitted 
in  May,  1922,  requiring  a  year  to  tabulate, 
were:  Mary  Pickford,  Norma  Talmadge, 
Constance  Talmadge,  Wallace  Reid,  Rodolph 
Valentino,  Douglas  Fairbanks,  Richard 
Barthelmess,  Harold  Lloyd,  Charlie  Chaplin. 

The  questionnaire,  circulated  through  the 
efforts  of  First  National  Pictures,  Inc.,  the 
Russell  Sage  Foundation  and  the  National 
Committee  for  Better  Films,  pays  the  last 
tribute  to  the  beloved  Wally.  He  was  the 
favorite  actor  of  both  the  boys  and  the  girls. 
Following  him  in  order  came  Rodolph  Val- 
entino and  Douglas  Fairbanks.  Douglas  was 
first  with  the  boys.  Charlie  Chaplin  was  the 
seventh  on  the  list,  leading  the  comedians,  and 
was  closely  followed  by  Harold  Lloyd.  With 
the  girls  Richard  Barthelmess  followed  Wally 
Reid  and  Valentino. 

r\F  all  the  Hollywood  players  who  would 
^-A-ou  guess  to  be  the  most  in  demand? 
You're  wrong!  Not  the  handsome  leading 
men  of  whom  you  are  thinking,  but  these 
villainous  brutes,  the  Beerys.  Noah  and 
Wallace  work  in  several  pictures  simulta- 
neously. 

As  this  is  being  written  Wally  is  holding 
down  three  jobs — and  three  salaries. 

And  speaking  of  daylight  saving.  Wally 
Beery  worked  eighty-five  weeks  last  year!  ' 

T)  ARBARA  LaMARR  has  bought  a  gorgeous 
•L'new  home  on  Whitley  Heights,  and  she  has 
an  English  butler.  Barbara  is  a  very  lux- 
urious and  gorgeous  young  person  and  her 
home  is  quite  the  most  exotic  mansion  we  have 
seen  so  far.  Mae  Murray,  also,  has  decided 
to  settle  down  in  Flollywood  to  make  her 
future  productions  and  has  bought  an  acre 
estate  in  Beverly  Hills.  In  fact,  that  little 
corner  of  Beverly  will  be  quite  a  movie  center, 
as  Harold  Lloyd.  Thomas  H.  Ince,  France- 
Marion,  Mae  Murray  and  James  Kirkwood 
have  all  bought  adjoining  land  to  build  homes 
upon. 

"""THE  opening  of  "The  Covered  Wagon"  in 
•*■  Hollywood  was  a  brilliant  event  that  will 
not  soon  be  forgotten.  Marvelous  costumes 
and  beautiful  women  filled  the  lovely  Egyptian 
theater  to  overflowing,  and  the  largest  gather- 
ing of  stars  ever  under  one  theatrical  roof 
assembled. 

Lois  Wilson,  the  screen  heroine  of  the  story, 
appeared  in  a  costume  of  orchid  trimmed  with 
ermine.  Barbara  LaMarr  wore  a  gown  of 
white  satin,  heavily  beaded,  and  May  McAvoy 
had  on  a  frock  of  white  chiffon,  trimmed  in 
squirrel.  Rubye  de  Remer  wore  gray  crepe  de 
chine,  with  steel  beads,  and  a  small  gray 
feathered  hat.  Jane  Murfin,  in  a  party  enter- 
tained by  Mrs.  Thomas  H.  Ince,  was  stunning 
in  cloth  of  gold,  with  crimson  shoes  and  a  band 
of  crimson  about  her  hair. 

MAY  McAVOY  has  severed  her  relations 
with  Paramount. 

Her  contract,  which  still  had  some  time  to 
run,  has  been  abrogated  by  mutual  consent. 

Miss  McAvoy  is  to  head  an  independent 
company,  backed  by  Los  Angeles  capital. 

Paramount  claims  Miss  McAvoy  was  hard 
to  handle,  that  she  wouldn't  cooperate  with 
them  on  necessary  studio  arrangements  and 
that  it  was  impossible  to  find  suitable  role- 
for  her,  while  the  star  declares  that  she  was 


Photoplay  Magazine — Advertising  Section 

THEIR  WHOLE  BEAUTY 

DEPENDS  on  Cuticle 
kept  soft  and  smooth 


UGLY  little  ridges  of  dead  skin  dried  tight  and 
hard  around  the  base  of  the  nail.  Those  little 
stiff  shreds  that  you  could  not  scrape  away — nor 
cut  away. 

How  often  you  have  filed  the  nail  tips,  cleaned 
them  and  even  polished  them — and  yet  there  they 
were — those  nails  simply  looked  as  if  you  had  never 
spent  a  moment  on  them. 

Do  you  know  you  could  have  spent  less  time  on 
them  and  had  them  a  thousand  times  lovelier! 

The  whole  secret  of  lovely  nails  is  the  care  of  the 
cuticle.  Keep  it  soft  and  smooth.  Cuticle  -will  grow 
hard  to  the  nail,  tighten  and  break.  But  there  is  one 
safe  certain  way  of  removing  those  little  stiff  particles 
of  dead  cuticle  without  injuring  the  soft  new  skin. 
That  way  is  with  Cutex. 

With  the  little  bottle  of  Cutex  there  comes  a 
smooth  orange  stick  and  some  fresh,  clean  absorbent 
cotton.  Wrap  a  bit  of  this 
around  the  end  of  the  orange 
stick,  dip  it  into  the  bottle, 
then  pass  the  moistened  cot- 
ton carefully  over  the  dry 
dead  cuticle.  In  an  instant 
the  dead  cuticle  is  softened 
and  loosened.  Then  dip  your 
fingers  in  clear  water  and 
with  a  soft  cloth  ivipe  the 
softened  cuticle  away. 


77 


Pboic  by  Nicholas  Muray 


SMary  f^ash  —  famous  for  the  grace  and  loveliness  of 
her  hands,  posed  for  this  picture.  She  uses  Cutex  and 
says,  "I  don't  see  how  I  ever  tolerated  having  my  cuticle 
cut — Cutex  is  so  easy  to  use,  so  quick  and  makes  my 
nails  look  so  well." 


de 


In  an  instant  the  dead  cuticle  is 
softened  and  loosened.  Rinse 
the  fingers  and  it  wipes  a-way. 


As  you  dry  the  finger-tips,  push  the  firm  unbroken 
new  cuticle  back.  How  lovely,  even  and  shapely  it 
is.  How  clean  and  smooth  the  nail  base.  And  it 
hadn't  taken  a  minute !  You  will  find  you  do  not 
need  to  do  this  more  then  once  or  twice  a  week. 

But  do  not  neglect  your  nails  between  these  quick 
manicures.  Every  night  gently  smooth  a  little  cream 
into  the  cuticle  of  each  nail.  Your  regular  cold  cream 
will  do  but  Cutex  has  a  Cuticle  Cream  (Comfort) 
especially  prepared  for  this. 


For  the  rose-pearl  lustre  that  fashion  decrees 

i      f      i      this  "wonderful  new  Liquid  Polish 


Cutex  has  lately  perfected  a  Liquid  Polish  that  is  without 
equal  for  quickness  and  brilliance.  A  touch  of  the  soft 
brush  leaves  the  nails  glistening  for  a  whole  week.  A  fresh 
coat  wiped  off  before  it  dries  completely  removes  the  old 
polish  without  the  need  of  a  bothersome  remover.  No 
wonder  it  is  so  popular  that  it,  too,  sells  for  only  35c. 

The  powder,  cake,  and  paste  polishes 
are  equally  good.  They  and  all  Cutex 
articles  are  35c  at  all  drug  and  depart- 
ment stores  or  complete  manicure  sets 
at  60c,  $1.00,  $1.50  and  $3.00. 


Introductory  Set — now  only  12c 

Fill  out  this  coupon  and  mail  it  with  12c  in  coin 
or  stamps  for  the  Introductory  Set  containing 
samples  of  Cutex  Cuticle  Remover,  Powder 
Polish,  Liquid  Polish,  Cuticle  Cream  (Com- 
fort), emery  board  and  orange  stick.  Address 
Northam  Warren,  114  West  17th  St.,  New 
York,  or  if  you  live  in  Canada,  Dept.  Q-7, 
200  Mountain  St.,  Montreal,  Canada. 


MAIL    THIS    COUPON    WITH    12c    TODAY 


Cutex  Liquid  and 
Powder  Polishes 


Northam  Warren 

Dept.  Q-j,  114  West  17th  Street,  New  York 

I  enclose  12c  in  stamps  or  coin  for  new  introductory  set  con- 
taining enough  Cutex  for  six  manicures. 

Name 


Street 

(or  P.  O.  Box) 
City 


.State_ 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


Cornelius  Vanderbilt,  Jr.,  "the  millionaire  reporter,"  dropped  around  to  risit  the 
Hollywood  studios  the  other  day  with  his  wife.    Herewith  you  can  Vote  his  friendly 
afternoon  call  upon  Charles  Brabin,  the  maker  of  "Driven,"  the  husband  of  Theda 
Bara  and  now  a  director  at  Goldwyn 


miscast  continually,  never  had  a  chance  to 
work  in  plays  that  showed  her  particular 
ability  and  that  her  public  standing  suffered 
in  consequence. 

The  truth,  we  believe,  is  that  May  McAvoy 
is  one  of  the  greatest  stars  on  the  screen  if 
properly  handled.  But  unless  a  company 
specialized  in  her  stories  and  exploited  her 
vigorously  she  is  not  worth  a  large  salary,  for 
she  cannot  play  the  average  role  of  ingenue  or 
leading  lady,  both  on  account  of  her  size  and 
her  lack  of  what  is  called  sex  appeal. 

"p\ERELYS  PERDUE  entered  suit  against 
•'-'her  employers,  the  F.  B.  O.  productions, 
to  prevent  them  from  changing  her  name  to 
Ann  Perdue.  She  intimated  that  she  would 
quit  right  in  the  middle  of  a  picture  unless  they 
called  her  Derelys — and  so  they  called  her 
Derelys.  She  said  Ann  was  so  frightfully 
plain  for'  a  girl  who  is  rumored  to  be  engaged 
to  Craig  Biddle,  Jr.,  the  millionaire  extra  man, 
and  courted  by  Gene  Sarazen,  the  golf  cham- 
pion. 

At  any  rate,  Miss  Perdue  has  an  active 
press  agent  who  is  to  be  congratulated. 

Virginia  Warwick  is  also  in  the  courts  de- 
manding that  an  extra  girl  be  prevented  from 
using  the  same  name  when  seeking  employ- 
ment. 


Genevieve  Berte,  leading  lady,  asked  per- 
mission to  have  her  name  changed  to  Peggy 
O'Day,  stating  that  it  is  more  advantageous  to 
her  screen  work.  Gen  disagrees  with  Derelys 
about  plain  names.  She  thinks  they're  just 
lovely  and  sweet. 

But,  in  the  meantime,  the  directors  go  right 
on  calling  them  whatever  names  they  please, 
I  suppose.     Isn't  life  complex? 

JACKIE  COOGAN  has  become  a  brother. 
J  He  proudly  introduced  his  adopted  sister  to 
me  the  other  day. 

Her  name  is  Priscilla  Dean  Moran.  She's 
the  daughter  of  a  picture  exhibitor,  whose  wife 
died  recently  expressing  the  wish  that  Priscilla 
become  Jackie's  sister.  The  Coogans  fulfilled 
the  request  by  adopting  the  child,  and  Jackie's 
doing  all  he  can  to  show  her  a  good  time. 

"A  girl's  a  problem,"  he  remarked  soberly. 
"But  Priscilla  can  certainly  drive  a  mean 
skecter,  and  I  think  she  has  the  making  of  an 
actress." 


EX   INGRAM    and   Papa   Jack    Coogan 
have  bungalows  side  by  side  on  the  Metro 


R: 
■ 

lot. 

And  Rex  says  pathetically,  "I've  got  a  nice 
new  bungalow  all  painted  and  shiny  and  Mr. 
Coogan  has  an  old  one  made  over.     I  drive 


up  in  the  morning  with  three  days'  growth 
of  beard  in  my  little  flivver  and  my  one  suit  of 
clothes  and  see  Jack  Coogan  drive  up  in  his 
Rolls-Royce,  his  spats,  his  cane  and  his  white 
carnation  and  I  feel  terrible.  I  must  ask  him 
either  to  leave  off  the  spats  or  trade 
bungalows,  that's  all." 

PMERSON  HOUGH  died  at  the  age  of 
■'-'sixty-six,  just  a  few  weeks  after  the  country 
had  acclaimed  his  story  of  "The  Covered  Wag- 
on" as  a  national  epic  and  film  producers  were 
showering  him  every  day  with  offers  for  his 
other  stories.  He  attended  the  opening  of 
"The  Covered  Wagon"  in  Chica"go  and  ex- 
pressed his  delight  to  the  audience  at  the  way 
Director  James  Cruze  had  visualized  the  story. 

Y\  7TTH  all  royalty  and  sassiety  posing  for 
**  the  camera  it  would  appear  that  Viscount 
Lascelles  is  nothing  but  a  Bolshevik  kicking  up 
that  beastly  row  because  a  camera  man  caught 
him  at  hounds.  He  objected  loud  and  long, 
we're  told.  .  .  .  Doesn't  like  the  cheap  cinema 
publicity,  don't  you  know.  I  don't  want  to 
meow,  but  just  the  same  I  can't  help  thinking 
the  Viscount  knows  he's  no  film  rival  for  his 
brother-in-law,  the  gallant,  smiling  Prince  of 
Wales. 

T7NGLISH  nobility  is  not  behind  American 
-•—'society  in  adopting  the  movies  as  a  pro- 
fession. Lord  Glerawly,  son  and  heir  of  the 
Earl  of  Annesley,  is  out  to  make  a  name  for 
himself  in  Hollywood.  He  has  been  engaged 
by  Cecil  B.  de  Milk  for  "The  Ten  Command- 
ments." His  lordship  is  twenty-nine  years  of 
age, — and  married.  The  presence  of  a  wife 
makes  it  unfortunate  for  the  fair  publicity 
seekers  of  the  studios,  whose  press  agents 
might  otherwise  show  their  originality  by 
starting  engagement  rumors  at  his  expense. 

V\  THEN  Elinor  Glyn  saw  her  picture,  "The 
**  World's  a  Stage."  for  the  first  time  in 
London  she  expressed  rapturous  delight. 

"I  should  like  to  press  the  point  that  the 
picture  is  an  exact  replica  of  the  real  Holly- 
wood," she  said.  "Where  else  would  one 
find  luxuriously  furnished  drawing  rooms, 
opening  straight  onto  the  streets  and  the  black 
cook  bustling  in  among  the  guests  to  state 
that  dinner  had  been  cooking  long  enough  and 
it  was  time  it  was  served?" 

Vraiment,  and  where  else  would  one  find 
people  falling  so  hard  for  Elinor's  line  of 
snobbish  buncombe? 

HpHEY  say  that  some  costume  plays  are  not 
£  accurate — that  they  do  not  follow  the 
books  that  they  have  been  adapted  from. 
But  Hugo  Ballin  can  never  be  accused  of  care- 
lessness, or  inaccuracy.  In  fact,  in  his  "Vanity 
Fair"  he  goes  the  author — a  certain  novelist 
named  Thackeray — one  better! 
}■  "Mr.  Thackeray,"  he  says,  "did  not  like  the 
costumes  of  the  period  in  which  he  laid  his  own 
story.  So  with  utter  poetic  license  and  aban- 
don, he  changed  them — dressing  his  female 
characters  in  the  hoopskirts  of  his  time,  which 
happened  to  be  some  fifty  years  later  than  the 
year  of  his  story.  He  did  this  deliberately — 
committing  an  anachronism  because  he  wanted 
to.  He  also  put  whiskers  on  the  faces  of  the 
soldiers  in  the  book,  although  at  that  time 
there  was  a  strict  rule  in  the  British  army 
against  the  growth  of  any  hair  upon  the  face. 
Thackeray  liked  whiskers — and  so  his  soldiers 
were  doomed  to  wear  them.  And  there  were 
many  other  things — not  important,  but  the 
sort  that  people  notice."  (We  might  add,  the 
sort  that  the  "  Why-Do-They-Do-Its"  notice.) 
"For  that  reason  some  parts  of  the  picture 
are  more  correct,  historically,  than  the  book 
from  which  the  picture  was  taken." 

VIRGINIA  BROWN  FAIRE  has  just 
signed  a  contract  with  First  National 
to  do  a  series  of  feature  pictures.  Virginia 
has  been  steadily  climbing  since  her  entrance, 
via  the  Beauty  Contest  gate.  And  has  been 
doing  consistently  good  work. 

[  CONTINUED  ON  PAGE  82  ] 


7R 


vmm} 


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T 


GZyoie>  /  c/fo£  <?  Fervor  of  the  Ladies 

I  have  a  great  delight — an  Olive  Oil  Shampoo  for  them 


V.  K.  CASSADY,  B.S. 

Dear  Madam: 

[7^^fr^|OUR.  husband  knows  me 

KjSSraSi  — the    chief    chemist    at 

■flq1  Palmolive.       I    have   just 

U^ucajQl  given  him  a  new  delight; 

a  gentler,  quicker  shaving  cream. 

Now  I  have  as  great  a  joy  for  you. 

A  gentle  shampoo — olive  oil ! — that 

does  not  make  hair  dry  and  brittle, 

that  leaves  it  soft  and  gleaming. 

The  favor  I  ask  is  that  you  try  it. 

And  then  give  me  your  opinion. 

I  Asked  1,000  Women 

Recently  I  asked  over  1,000 
women  what  they  wanted  most 
in  a  shampoo. 

They  named  but  one  requirement. 
But  as  yet  had  failed  to  find  it: 
A  thorough  cleanser  that  would 
take   out   all    grime    and    foreign 


,  M.S.,  Chief  Chemist 

matter  —  yet  which  would  not 
take  away  the  life  and  lustre  that 
adds  so  much  to  charm. 

Scores  of  scalp  experts  agreed.  They 
said  ordinary  shampoos  were  too 
harsh.  And  advised  the  oil  sham- 
poo— but  made  a  point  of  olive  oil. 

So  the  Olive  Oil  Shampoo 

Now  I  offer  you  the  olive  oil 
shampoo  —  world  famous  —  for 
you  to  use  at  home. 

After  the  ordinary  harsh  shampoo, 
results  will  be  a  revelation.  You 
will  note  them  in  your  mirror. 
Your  friends  will  note  them. 

And  then  you  will  do  as  thou- 
sands have  done  —  thank  me  for 
a  new  delight. 


PALMOLIVE 

SHAMPOO 


eJL 


Copyright  1923-Thc  Palmolive  Company    17'JS 


I- 


Grqyjiair  banished  in  1$  minutes 


'  H0omen  ofculliuvjefinement 
and  discrimination.-'  the  type 
olwomen  whose  charmof  youth 
and  beauty  never  fades  ~fulh 
appreciate  and  invariably  in- 
sist upon  tlw$rtoi!]lafrcJintin(j 
afforded  by  Inecto  Jiapid. 


The  Actual  Experience  of  a  Woman  Who  Dyed 
Her  Hair  and  Then  Discovered  I  NEC  TO  Rapid 


A  ROUT  a  year  ago  my  hair  showed  signs  of  graying 
and  I  purchased  a  well  known  hair  restorer  at  my 
druggists.  As  I  continued  to  use  the  preparation, 
however,  I  noticed  my  hair  growing  darker  and  darker 
until,  in  a  few  months  it  was  much  darker  than  my 
original  shade.  The  color  did  not  become  me  but 
worse  than  this,  my  hair  began  to  get  brittle  and 
break  off — besides  having  a  dull,  matted  appearance. 
About  this  time  I  read  an  Inecto  Rapid  advertisement 
and  went  to  the  Inecto  Rapid  Salon  and  had  my  hair 
examined  by  one  of  their  experts.  This  expert  told 
me  that  my  hair  was  almost  ruined  but  that  the  old 
dye  could  be  taken  out  with  hot  oil  treatments. 
When  this  was  done  my  head  was  in  its  natural 
condition. 

Inecto  Rapid  was  then  applied,  selecting  the  precise 
shade  which  suited  my  eyes  and  complexion  and  after 
the  shampoo  my  hair  was  transformed  and  really 
given  its  original  color,  brilliancy  and  texture.  Now 
I  can  have  my  hair  permanently  waved  or  given  any 
of  the  treatments  that  I  formerly  enjoyed.  In  six 
months  my  hair  has  grown  longer  and  thicker  and  is 
really  more  glossy  and  beautiful  than  ever." 

INEXTO  Rapid  is  specifically  guaranteed  to  color 
naturally  gray,  streaked  or  faded  hair  to  any  de- 
sired shade  in  15  minutes  and  to  preserve  all  the 
original  beauty  and  texture.  The  results  are  per- 
v,  manent  and  cannot  be  discovered  under  a  microscope. 

Inecto,--  Jt  comes  in  18  distinct  shades  from  radiant  blonde 

Inc.         » 

33-35  W.  \         to  raven  black  and  is  harmless  to   the  hair  or  its 

46lh  Street   \  , 

New  Tork.  N.Y.\         growth. 

Gt  I'tUmen:  \ 

Please  send  me,      \ 

Kratis.    full  details     \ 

of   INECTO   RAPID    \ 

and  the  "Beauty  Analy-  * 

sis  Chart."    FormA-14.    . 

v.  Laboratories 

Name \ 

\  33-35  West  46th  St., 

Address V 

\ 
City Slate N 


INECTO  Rapid  never  rubs  off,  is  unaffected  by  per- 
spiration, shampooing,  sunshine,  salt  water,  Turkish 
or  Russian  baths  and  the  hair  may  be  permanently 
waved  immediately  after  an  application. 

The  Hairdresser,  the  accepted  authority  on  hair 
coloring,  has  given  to  INECTO  Rapid  an  unqualified 
stamp  of  superiority.  In  New  York,  INECTO 
Rapid  is  used  by  such  ultra-fashionable  shops  as  The 
Pennsylvania,  Hotel  Commodore,  Biltmore  and 
Waldorf-Astoria. 

Many  thousands  of  the  leading  hairdressing  shops 
from  coast  to  coast,  use  and  unreservedly  indorse 
INECTO  Rapid. 

It  is  so  easy  to  use,  that  thousands  of  women  apply 
INECTO  Rapid  with  perfect  success  in  the  privacy 
of  their  homes.  Every  woman  who  is  not  com- 
pletely satisfied  with  the  color  and  texture  of  her 
hair,  and  realizes  the  great  importance  of  individual 
treatment,  owes  it  to  herself  to  know  all  the  facts 
about  this  wonderful  discovery  and  what  it  will  do 
for  her. 

SEND  NO  MONEY — Just  send  us  your  name  on 
the  coupon  and  we  will  mail  you  full,  interesting 
details  and  our  "Beauty  Analysis  Chart,"  enabling 
you  to  find  the  most  becoming  color  for  your  hair — 
the  one  that  suits  you  individually. 


10 
Guarantees 

Inecto     Rapid     Is     laid 
under  these  guarantees: 

1T0  produce  a 
.  color  that  cannot 
be  distinguished 
from  the  natural 
color  under  the 
closest  scrutiny. 

2  Not  to  cause  dark 
.  streaks  following 
successive  appli- 
cations. 

3Tomaintainaunl- 
.     form   shade  over 
a  period  of  years. 
a       To  bo  harmless  to 
1.     hair  or  its  growth. 

5  Not  to  make  the 
.  texture  of  t  lie 
hair  coarse  or 
brittle  and  Q01  to 
cause  breakage. 

6  Never  to  cause 
.  too  dark  :i  COlOI 
through  inability 
to  .stop  the  proc- 
ess at  the  exact 
shade  desired. 
■j  To  color  any  head 
I .  of  naturally  gray 
hair  any  color  In 
Qfteen  minutes. 

8  To  be  unaffected 
.  by  per  m  a n c  n  t 
waving,  salt 
water,  sunlight, 
rain,  shampoo- 
ing, perspiration, 
Russian  or  Turk- 
ish baths. 
9  Not  to  soil  linens 
.  or  hat  linings. 
1  n  To  produce  a 
1U.  delicateashshade 
heretofore  impos- 
sible. 


INECTO 

RAPID 


<-*-^        Bg->*^ 


and   Salons 
New  York  City 


QUESTIONS    and    ANSWERS 


C.  W. — Yes,  indeed,  Tom  Moore  is  Irish. 
Can  you  look  at  his  face  and  ask?  His  latest 
wife  goes  by  the  name  of  Renee  Adoree  and 
she  is  Irish,  too — by  marriage. 

Latchie  B. — Yes,  of  course  you  will  see 
Rodolph  Valentino  again.  In  vaudeville, 
maybe,  before  you  do  in  pictures — but  the 
screen  does  not  part  willingly  with  one  of  its 
most  talented  young  stars.  As  far  as  I  know 
Wanda  is  not  related  to  Orma  Hawley — but 
then  there  are  a  few  things  I  don't  know. 
Yes,  Pola  is  really  engaged  to  the  Chaplin. 

J.  G.  L.,  Hastings-on-the-Hudson. — Earle 
Fox  is  thirty-six  years  old  and  is  divorced. 
We  don't  know  how  permanent  this  blessed 
state  may  be  —  you  never  can  tell,  nowadays. 
Malcolm  is,  as  I  have  said  several  times  before, 
in  his  early  twenties.  Address  Earle  Fox  in 
care  of  Hodkinson,  and  Malcolm  in  care  of 
Film  Booking.  Fox  is  to  appear  in  "Vanity 
Fair"  in  support  of  Mabel  Ballin — McGregor 
made  his  last  appearance  to  date  in  "Can  a 
Woman  Love  Twice?"  with  Ethel  Clayton. 

Fritzie  S.,  Milwaukee,  Wis. — You  wish  to 
know  Ramon  Novarro's  address,  his  dimen- 
sions, and  his  state  as  to  matrimony,  Fritzie? 
You  inquisitive  girl.  Here  they  are:  Metro, 
Los  Angeles.  Five  feet,  ten  inches.  One 
hundred  sixty  pounds.  Adonis  could  hardly 
have  done  better.  Glad  am  I  to  say  he  is 
unmarried;  I  have  had  to  chill  the  hearts  of  so 
many  lovely  maids  by  the  cold,  laconic 
response,  "Yes,  married."  Truth  is  often 
cruel,  Miss  Fritzie.  Well — er — when  could  one 
man  ever  do  justice  to  another's  personal 
pulchritude?  Yes,  since  you  press  me,  I  think 
that  looking  at  Novarro  is  an  easy  task.  But 
I  wouldn't  use  the  term  you  do — "a  doll." 
He  wouldn't  like  it  from  me.  From  you  he 
might — probably  would.  So  much  depends 
upon  the  personality  of  the  speaker.  Ralph 
Graves  is  a  mere  youth,  only  twenty-three.  It 
is  sad. to  have  to  answer  that  he  is  not  married, 
because  his  wife  died  suddenly. 

"Sweet  Mamma,"  Des  Moines,  Iowa. — 
The  family  physician  has  forbidden  smoking 


this  spring,  so  candy  is  my  next  in  rank  vice. 
Good  of  you  to  be  interested,  "Sweet  Mam- 
ma." Pauline  Frederick  and  Elsie  Ferguson 
are  both  gracing  the  stage  while  I  write  this. 
Miss  Frederick  flitted  past  me  in  a  magnificent 
red  and  gold  negligee  a  half  hour  ago  on 
the  stage  of  the  Selwyn  Theater  where  she  was 
playing  in  "The  Guilty  One."  A  gossiping 
little  bird  whispers  to  me  that  she  is  to  have 
the  play  "Unto  Caesar,"  written  for  her  by 
the  author  of  the  play  in  which  Julia  Neilsen 
Terry  appeared,  the  romantic  drama  "The 
Scarlet  Pimpernel,"  and  may'  appear  in 
London.  However  that  is,  at  the  time  I 
write,  "on  the  knees  of  the  gods."  Bony 
knees,  they  must  be,  from  so  much  and  such 
general  use.  Miss  Ferguson  is  on  tour  in  the 
west.  Do  you  know  that  her  devoted  hus- 
band, a  New  York  banker,  has  amused  her 
by  writing  a  book  about  her  Angora  cat, 
Mittens?  Mittens  was  one  of  his  gifts  to  her 
in  the  period  of  their  five  year  courtship 
when  he  dropped  the  wee  bundle  of  fur  on  her 
shoulder.  Mittens  has  developed  much  per- 
sonality since  then. 

M.  C.  L.,  New  York  City. — The  galaxy 
of  your  choice  shines  forth  as  follows:  Claire 
Windsor,  Goldwyn  Studios;  Pearl  White, 
Pathe;  Norma  and  Constance  Talmadge, 
United  Studios;  Charles  Chaplin,  Charles 
Chaplin  Studios;  Lillian  and  Dorothy  Gish, 
Inspiration  Studios.  . 

F.  R.  W.,  Chicago,  III. — The  strong  down 
stroke  evident  in  your  signature,  and  your 
businesslike  letter  stir  in  me  the  suspicion 
that  you  are  a  male  correspondent.  Or  you 
may  be  an  efficient  business  girl,  one  of  the 
kind  who  is  punctual  and  wears  tailored  suits 
and  a  sailor  hat  held  in  place  by  a  rubber  band 
under  the  chin,  as  does  the  clever  woman 
executive,  Edna  Williams.  Be  that  as  it  may, 
or  as  the  late  and  genuinely  lamented  come- 
dian, Charles  Ross,  used  to  say  "annywhay," 
you  gave  me  a  smile  by  the  way  you  wrote 
your  anticipatory  thanks.  You  spelled  it 
"Thanx,"  which  is  original.  It  is  Glenn 
Hunter  who  plays  the  name  role  of  "Merton  of 
the  Movies."  Kenneth  Harlan  is  with  Pre- 
ferred Pictures. 


Viola  Kelley,  Ashland,  Wis. — Why  the 
extra  "e"  in  Kelley?  Of  course  every  girl  has 
a  right  to  decorate  her  name  if  she  likes. 
"Fresh,"  am  I?  Then  I'll  make  the  ancient 
Adamic  answer:  "The  woman  tempted  me." 
For  you  did  begin  your  letter  "Dear  little 
man,"  now  didn't  you?  You  say,  "I  thought 
you  were  tiny  so  I  put  it  down."  Why  do  we 
think  the  things  we  do?  No,  I  am  not  tiny. 
People  have  called  me  many  things  but  never 
tiny.  If  you  would  indite  an  epistle  to  Rodolph 
Valentino  you  should — at  the  date  this  is 
written  at  any  rate  —  write  legibly  on  the 
envelope  containing  that  letter,  "Hotel  des 
Artistes,  i  W.  67th  St.,  New  York  City,  X.  Y." 

M.  S.,  Sheville,  N.  C. — Gloria  Swanson's 
daughter  is  two  years  old  but  you  may  be  sure 
that  the  glittering  Gloria  still  calls  her  "baby." 
It  is  the  way  of  fond  mothers.  The  shade  of 
Miss  Swanson's  hair?  It  is  brown.  I  am 
sure  because  a  young  woman  who  tead  with 
her  at  the  Ritz  Palm  room  told  me  so.  No, 
May  McAvoy  is  not  married. 

Bill  G.,  Denver,  Colo. — O  Bill,  you,  too? 
Why  not  leave  the  age  mania  to  the  girls? 
Well,  if  you  insist.  Niles  Welch  has  reached 
years  of  discretion.  At  least  he  is  thirty-live. 
Johnnie  Walker  is  twenty-seven.  Niles  is 
married.  As  you  say  out  on  your  western 
plains,  Dell  Boone  has  "roped,  staked  and 
hobbled  him."  Johnnie  Walker  enjoys  his 
freedom,  I  believe.  Wonder  if  a  man  really 
does  enjoy  "this  freedom"  or  that.  Yes, 
Mr.  Welch  played  in  "From  Rags  to  Riches" 
and  "The  Secret  of  the  Storm  Country." 

Nita  Marie,  Eureka  Springs,  Ark. — A 
pretty  Southerner,  I'll  be  bound.  How  do  I 
know?  Well,  your  home  is  in  the  Southwest, 
is  it  not?  How  you  girls  of  the  Southwest,  the 
South  and  otherwheres  sparkle  at  the  name  of 
Ramon  Novarro.  Again  I  sigh  and  indite 
information  about  the  height,  the  weight,  the 
coloring  and  the  address  of  the  Girls'  Own. 
First  item,  five  feet  ten  inches.  Second,  160 
pounds.  Third,  black  eyes  and  hair  to  match 
Metro. 


[  continued  on  page  102  ] 


81 


Jackie  Coogan  has  apparently  won  the  heart  of  his  foster  sister,  Priscilla  Dean 

Moran.    Mamma  Coogan  has  just  adopted  Priscilla,  who  is  four  and  a  half  years 

old.     The  little  girl's  mother  died  some  weeks  ago  and,  when  the  child  wanted 

to  be  Jackie's  sister,  the  Coogans  wrote  her  dad,  Leo  Moran,  "All  right" 


sioner;  and  other  prominent  officials  of  the 
golden  state. 

rpHEY  claim  that  David  Belasco  will  direct 
■*■  Hope  Hampton  in  the  film  version  of  "The 
Gold  Diggers."  This  is  startling  news  and 
we  doubt  it. 

A  ND  now,  to  cap  the  climax  of  the  costume 
•••■pictures  that  have  been  sweeping  through 
the  country,  comes  the  announcement  that  a 
version  of  Scott's  "The  Lady  of  the  Lake"  is 
going  to  be  made  in  the  near  future.  The 
announcers  whisper  something  about  a 
"modernized"  version — but  we  don't  quite 
see  how  that's  possible.  Rod  La  Roque  wUl 
have  the  hero  role,  and  Estelle  Taylor  will  be 
The  Lady. 

ALTHOUGH  it's  not  commonly  known, 
Richard  Walton  Tully  and  Tully  Marshall 
are  cousins.  First  ones,  at  that.  And  now 
that  Richard  Walton  is  making  "Trilby"  at 
the  United  Studios  in  Hollywood,  and  Tully 
Marshall  is  appearing  in  "The  Brass  Bottle" 
on  the  next  set,  in  the  same  studios,  they  have 
a  regular  little  family  reunion  every  day. 

Richard  Walton  Tully  says  that  he  believes 
in  prenatal  influence.  "It  was  foreordained 
that  I  was  to  become  a  showman  of  some  sort," 
he  says.  "Tully  Marshall  was  playing  circus 
in  our  backyard  the  day  that  I  was  born ! " 

'"PHERE'S  a  certain  casting  director  out  in 
•*-  Hollywood  who  had  a  practical  joke  played 
upon  him  the  other  day.  He's  hunting,  now, 
with  blood  in  his  eye,  for  the  man — or  men — 
who  started  it.    And  if  he  catches  them — 

It  happened  this  way.  Word  got  around — 
as  word  does — in  the  casting  circles  of  Holly- 
wood, that  said  director  was  going  to  shoot  a 
scene  that  required  a  number  of  women  with 
large  feet.  And  early  in  the  morning  the 
director  was  besieged  by  a  great  number  of 
determined  females  who  insisted  upon  invading 
his  office  and  removing  their  shoes  and  stock- 
ings. Now,  few  bare  feet  are  pretty.  And 
extra  large  bare  feet  are  seldom  anything  to  get 
excited  about.  The  director  fled  from  the  office, 
but  all  day  long — as  he  wandered  disconsolately 
about  from  set  to  set — he  was  waylaid  by 
women  who  cornered  him  and  insisted  upon 
taking  off  their  seven  and  eight  d's.  Women 
are  hard  to  convince  that  a  joke's  a  joke.  So, 
now,  are  casting  directors! 


I  CONTINUED  FROM  PAGE  78  ] 

"ANNA  CHRISTIE,"  Eugene  O'Neill's 
■'••prize  play,  has  been  purchased  by  First 
National,  for  immediate  production.  No 
announcement  as  to  cast  has  been  made,  but 
the  production  will  be  interesting,  beyond  a 
doubt.  As  it  is  the  first  O'Neill  play  to  be 
reproduced  upon  the  silver  sheet,  it  is  being 
looked  forward  to  with  unusual  curiosity. 

•"THE  cast  for  Mrs.  Wallace  Reid's  picture, 
■'■"Human  Wreckage."  reads  like  a  page 
from  the  "Who's  Who"  of  filmdom.  See  for 
yourselves!  First  of  all,  Mrs.  Reid  herself. 
Then  James  Kirkwood,  Bessie  Love,  George 
Hackathorne,  Claire  McDowell,  Robert 
McKim,  Victory  Bateman,  Harry  Northrup, 
Eric  Mayne,  Otto  Hoffman,  Philip  Sleeman, 
George  Clark,  Lucille  Rickson,  and  a  score  of 
others.  Not  content  with  this  list  of  stars, 
Mrs.  Reid  has  recruited  to  her  banner  these 
notables:  George  E.  Cryer,  Mayor  of  the 
City  of  Los  Angeles;  Dr.  R.  B.  Von  Kleinsmid, 
President  of  the  University  of  Southern  Cali- 
fornia; Benjamin  Boledsoe,  United  States 
Judge;  Louis  D.  Oaks,  Chief  of  Police;  Martha 
Nelson  McCan,  Los  Angeles  Park  Commis- 

"Jazzbo, ' '  a  trick  mule  recently ' '  won  over 
to  motion  pictures,"  listening  to  Maurice 
Tourneur  reading  the  script  of  "The 
Brass  Bottle,"  F.  Anstey's  story  now 
being  fdmed 


Photoplay  Magazine — Advertising  Section 


83 


What  the  outdoor  life  of  girls  today 

is  teaching  all  women 


Why  their  skin 

does  not  coarsen  or  lose  its  freshness 
in  spite  of  the  way  they  treat  it 

When  girls  started  on  their  headlong 
career  of  swimming,  golfing,  riding 
and  motoring,  they  were  warned  they 
would  eternally  ruin  their  complexions. 
But  they  just  did  not.  After  several 
years  of  sports  and  parties  the  modern  girl  still 
has  the  kind  of  complexion  men  bow  to,  fascinatingly 
fresh  and  smooth. 

Because,  as  she  would  say,  she  goes  in  for  taking 
care  of  it. 

This  is  one  thing  the  modern  girl  has  proved  for 
women  once  and  for  all  time.  Give  it  the  two  indispens- 
able things  on  which  a  skin  keeps  young  and  smooth, 
and  your  skin  will  be  fresh  and  lovely  for  years. 

The  exquisite  cleansing.  The  delicate,  yet  sure  pro- 
tection— Women  who  use  daily  the  two  entirely  different 
creams  which  Pond's  developed  for  these  two  needs  of 
the  skin,  say  that  no  other  method  leaves  them  so 
free  from  worry  about  the  weather,  or  gives  them  the 
same  wonderful  feeling  that  their  complexion  is  exactly 
right.  No  wonder  that  women  use  millions  of  jars  every 
year  of  these  two  creams  —  Pond's  Cold  Cream  and 
Pond's  Vanishing  Cream ! 


TRY  THIS  FAMOUS  METHOD 

Every  night.   With  the  finger  tips  apply  Pond's  Cold  Cream  freely.    The 

very  fine  oil  in  it  is  able  to  penetrate  every  pore.    Let  it  stay  on  a  minute 

— now  wipe  it  off  with  a  soft  cloth.   Do  this  twice.  The  black 

on  the  cloth  shows  you  how  carefully  this  cream  cleanses. 

Your  slcin  looks  fresh  and  is  beautifully  supple. 

Then  in  the  morning,  smooth  on  Pond's  Vanishing  Cream 

lightly  over  your  whole  face.     Now  if  you  wish,  rouge — 

powder.  How  smooth  and  velvety  your  face  feels  to  your  hand . 

The  appearance  of  your  slcin  for  the  whole  day  will  prove  to 

you  how  wonderful  for  your  skin  these  two  creams  are. 

Use  this  method  regularly  to  counteract 
every  day's  exposure  to  dirt  and  weather.  And 
after  any  special  exposure,  a  motor  or  railroad 
trip,  give  your  skin  a  special  daytime  cleansing 
and  freshening.  Begin  tonight.  The  Pond's 
Extract  Company. 


Read  about  the  method  many  modern  girls  use  to  keep 
their  skin  always  so  delightfully  smooth  and  young 


Photo  by  While  Studio,  N.  Y. 

Elizabeth   Hines   says: 

"Pond's  Two  Creams  can 

be  depended  on  to  keep  the 

skin  fresh  and  smooth." 


PONDjj  ,«£?-}—"    removes  coarsening  dirt — restores  suppleness 

defies  exposure — finishes  and  holds  the  powder 

EVERY  SKIN  NEEDS  THESE  TWO  CREAMS 


Defy  the  troubles  that  mar  your  skin 

Give  it  the  two  things  that  every  skin 
must  have  to  he  fresh  and  smooth 

Sunburn,  Windburn,  Chapping 

The  daily  repetition  of  weather  damage  does  more  to  age  your  skin  than  any 
other  single  factor.  Bur  the  process  is  so  gradual  that  you  do  not  notice  it  until 
your  skin  has  definitely  coarsened.  Do  not  let  this  happen.  For  the  insidious 
everyday  exposure  that  attacks  every  woman,  use  the  same  method  that  would 
save  your  skin  from  the  excessive  damage  of  a  long  motor  ride  or  a  day  on 
the  beach.  Keep  your  skin  properly  oiled  by  a  nightly  cleansing  with  Pond's 
Cold  Cream.  Then  always  in  the  morning,  smooth  on  Pond's  Vanishing 
Cream.  It  forms  a  delicate  but  sure  protection.  This  method  will  prevent 
your  skin  from  drying  out,  will  keep  it  smooth  and  young. 

Premature  Wrinkles,  Scaling,  Peeling 

These  are  the  troubles  of  a  dry  skin.  To  avoid  them  you  must  protect  your- 
self from  all  exposure  —  keep  your  skin  soft  day  and  night.  Cleanse  with 
plenty  of  Pond's  Cold  Cream  nightly  and  leave  some  on  over  night.  This 
will  give  your  skin  the  oil  it  needs  so  badly  and  keep  it  from  scaling  and  peel- 
ing. Then  it  will  not  develop  little  lines  that  grow  into  wrinkles. 

But  do  not  let  the  exposure  of  the  day  undo  the  results  of  this  nightly 
oiling.  Every  morning  smooth  on  Pond's  Vanishing  Cream  liberally 
to  prevent  your  skin  from  drying  out  again-  Carry  a  tube  with  you  on 
motor  trips  to  counteract  their  drying  influence. 

Accumulation  of  dirt  and  oil  in  the  pores 

This  is  the  trouble  of  an  oily  skin.  Oil  accumulates  in  your  glands  and 
attracts  dirt  and  bacteria — dust  that  blows  into  your  face  when  motor- 
ing, or  the  daily  soot  of  city  streets.  Your  complexion  is  dulled,  dis- 
figured. It  has  an  oily  shine.  For  this  condition  you  need  specially 
careful  cleansings.  Pond's  Cold  Cream  is  so  light  it  penetrates  the 
glands  and  takes  out  excess  oil  and  dirt  together.  Cleanse  this  way 
every  night  and  always  after  any  motor  or  railroad  trip.  Then  every 
morning  smooth  on  Pond's  Vanishing  Cream.  You  can  use  plenty 
of  it  because  it  has  no  oil.  It  will  keep  your  face  fresh  right  through 
the  day.     With  these  two  creams  you  will  avoid  a  dull  muddy  skin. 


GENEROUS  TUBES-MAIL  COUPON  WITH   10c  TODAY 


The  Pond's  Extract  Co. 

135  Hudson  St.,  New  York 

Ten  cents  (10c)  is  enclosed  for  your  special  introductory  tubes 
of  the  two  creams  every  normal  skin  needs  —  enough  of  each 
cream  for  two  weeks'  ordinary  toilet  uses. 

Name 

Street 

i      City State 


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Bill  Reid  and  his  little  adopted  sister,  Betty.    Bill  is  the  man  of  the  house  now  and, 

if  a  burglar  should  break  in — well,  he's  showing  Betty,  who  is  a  willing,  not  to  say 

adoring,  subject  just  what  he'd  do 


erected  by  Rex  Ingram  for  "Scaramouche." 
Alice  Terry  and  Julia  Swayne  Gordon  were 
in  a  handsome  seventeenth  century  cabriolet 
drawn  by  four  horses.  The  horses  became 
frightened  and  started  galloping  down  the  hill 
into  the  village.  The  two  leaders  fell,  and  the 
other  two  started  kicking  the  carriage.  The 
ladies  were  unable  to  leap  from  the  equipage 
because  the  doors  opened  only  from  the  out- 
side, so  they  were  saying  their  prayers  and 
composing  themselves  for  death  when  a  white 
charger  leaped  a  fence  and  to  the  rescue  came 
the  gallant  Scaramouche  himself.  Ramon 
knew  the  doors  locked  from  the  outside 
because  he  was  locked  in  during  lunch  hour 
one  day  and  nearly  starved  to  death! 

A  NOTHER  "  extra  "  arrives. 
-*Mvatherine  Key  signed  a  long  term  con- 
tract the  other  day. 

Three  years  ago  she  started  as  an  extra  at 
the  Ince  studio. 

Miss  Key  is  a  lineal  descendent  of  Francis 
Scott  Key,  who  wrote  "The  Star  Spangled 
Banner" — but  that  fact  didn't  help  her  to  a 
nice  contract.     Three  years'  work  did  it. 

SPEAKING  of  the  chances  of  a  beginner  in 
pictures,  Rex  Ingram  picked  a  strange  one 
the  other  day. 

The  director-discoverer  wanted  a  number  of 
extras  to  appear  as  French  nobles  in  "Scara- 
mouche," the  elaborate  production  he  is  now 
filming.  He  wanted  men  of  erect  carriage 
and  dignity  of  mien  who  could  convey  the 
illusion  of  pomp. 

"I'm  just  the  bird  for  the  job,"  croaked  a 
seedy  applicant.  "I  got  experience.  I  been 
carrying  a  sandwich  sign  advertising  Schnitz' 
Liverwurst." 

He  got  the  job. 

TRENE  CASTLE  made  even  the  judge  blink 
•When  she  entered  the  New  York  West  side 
court  wearing  an  ankle  bracelet.  She  ap- 
peared to  witness  the  arraignment  of  James  R. 
Cooper,  charged  of  withholding  a  $9,000 
pearl  necklace  from  her.  The  anklet  was 
worn  with  a  flesh-colored  stocking.  Very 
dazzling. 

T  ITTLE  CECIL  KRAUSE,  age  18,  saw  an 

-'-'advertisement  in  a  newspaper  stating  that 
for  a  nominal  fee  a  girl  might  become  a  movie 
vamp.  Cecil  went  to  the  office  designated  in 
the  advertisement  and  was  vamped  of  the 
"nominal  fee,"  which  was  fifty  dollars. 
Slowly  but  surely  eight  hundred  dollars  were 

[  CONTINUED  ON  PAGE  88  ] 


IT  has  been  announced  that  Marion  Davies 
and  Mary  Pickford  are  planning  each  one  of 
them  to  make  "  Dorothy  Vernon  of  Haddon 
Hall."  That  attractive  tomboy  of  historical 
novel  fame,  Dorothy,  will  furnish  a  part  worth 
the  taking.  And  it  will  be  more  than  inter- 
esting to  see  what  two  stars,  of  such  widely 
different  temperaments  and  talents,  will  do 
with  the  same  part. 

ANNA  Q.  NILSSON  and  Kathleen  Clifford 
were  discussing  a  new  and  very  blonde 
ingenue  who  had  just  arrived  on  the  Goldwyn 
lot. 

"I  wish  you  could  see  her  act,"  said  Anna, 
"she's  awful." 

"Oh,  well,"  said  Kathleen,  tolerantly,  "re- 
member she's  a  lot  younger  than  we  are." 

"I  never  was  as  young  as  that  girl  the  day  I 
was  born,"  said  Anna  Q.  positively. 

WHO  says  chivalry  is  dead? 
Ramon   Novarro  saved  two  fair  ladies 
just  the  other  day. 

It   was  in  the  village  of  Gavrilac,  Cal., 


Glenn  Hunter  and  his  mother.  Glenn,- 
besides  being  an  actor  and  an  excellent 
pianist,  has  a  well  trained  voice.  Indeed, 
he  takes  his  vocal  training  very  seriously 


84 


Photoplay  Magazine — Advertising  Section 


85 


KODAK 


And  afterwards  you  have  it  all  in  the  album 

Autographic  Kodaks  $6.50  up 

* 

Eastman  Kodak  Company,  Rochester, N.Y.,ne  Kodak  aty 


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"THE  WOMAN  WITH  FOUR  FACES" 


Many  women  are  ac- 
cused of  being  two  faced. 
But  Betty  Compson  — 
take  it  from  the  title  of 
her  latest  jdcture  —  has 
raised  the  average.  Here 
are  shown  a  couple  of 
her  four  characteriza- 
tions. As  a  very  old 
lady,  and  as  is! 


TUT?      T*  T  *C      TIJ    AT      "DTT  XT  T^  C  As  Detnonstrated  by 

L    LT£j        1    1  .C        lfr/\l        rSLlJNJJO Raymond  Griffith 


A  Windsor  tie  with  red  spots. 

A  gambler  might  wear  it — to 

distract  attention 


A  polka  dotted,  ready 
made  affair  that  is 
careless — and  a  little 
hard  boiled.  You 
know  the  kind! 


This  black  four-in-hand  em- 
bodies youth,  romance  and  an 
engaging  simplicity 


Hopeless,  insecure.  Worn  by 

some  bookkeepers,  inventors 

and  nearly  all  minor  poets 


A  style  affected  by 
the  graduate  of  the 
penny  dance  halls. 
A  little  jazzbo  neck- 
tie on  an  elastic  band! 


86 


Photoplay  Magazine — Advertising  Section 


oyijamlous Mw  Spanish  QquiA 
Tviakes  any  hair  naturally  curly 
in  2o  minutes 


The  Spanish  Beggar's 
Priceless  Gift 

by  Winnifred  Ralston 

FROM  the  day  we  started  to  school,  Charity 
Winthrop  and  I  were  called  the  tousled- 
hair  twins.   Our  hair  simply  wouldn't  behave. 

As  we  grew  older  the  hated  name  still  clung 
to  us.  It  followed  us  through  the  grades  and 
into  boarding  school.  Then  Charity's  family 
moved  to  Spain  and  I  didn't  see  her  again 
until  last  New  Year's  eve. 

A  party  of  us  had  gone  to  the  Drake  Hotel 
for  dinner  that  night.  As  usual  I  was  terribly 
embarrassed  and  ashamed  of  my  hair. 

Horribly  self-conscious  I  was  sitting  at  the 
table,  scarcely  touching  my  food,  wishing  I 
were  home.  It  seemed  that  everyone  had  won- 
derful, lustrous,  curly  hair  but  me  and  I  felt 
they  were  all  laughing — or  worse,  pitying  me 
behind  my  back. 

My  eyes  strayed  to  the  dance  floor  and  there 
I  saw  a  beautiful  girl  dancing  with  Tom 
Harvey.  Her  eye  caught  mine  and  to  my  sur- 
prise she  smiled  and  started  toward  me. 

About  this  girl's  face  was  a  halo  of  golden  curls. 
I  think  she  had  themost  beautiful  hair  I  ever  saw. 
My  face  must  have  turned  scarlet  as  I  compared 
it  mentally  with  my  own  straggly,  ugly  mop. 

Of  course  you  have  guessed  her  identity — 
Charity  Winthrop,  who  once  had  dull  straight 
hair  like  mine. 

It  had  been  five  long  years  since  I  had  seen 
her.  But  I  simply  couldn't  wait.  I  blurted  out 
— "Charity  Winthrop — tell  me — what  miracle 
has  happened  to  your  hair ?" 

She  smiled  and  said  mys- 
teriously, "Come  to  my 
room  and  I  will  tell  you  the 
whole  story." 

£harity  tells  of  the 
beggar's  gift 

"Our  house  in  Madrid  faced  a 
little,  old  plaza  where  I  often 
Itrolled  after  my  siesta.  A  Matchless  Marcel 


"Miguel,  the  beggar,  always  occupied  the  end  bench  of 
the  south  end  of  the  plaza.  I  always  dropped  a  few 
centavos  in  his  hat  when  I  passed  and  he  soon  grew  to 
know  me. 

"The  day  before  I  left  Madrid  I  stopped  to  bid  him 
goodby  and  pressed  a  gold  coin  in  his  palm." 

"Hija  mid"  he  said,  "You  have  been  very  kind  to  an 
old  man.  Digamelo  (tell  me)  senorita,  what  it  is  your  heart 
most  desires." 

"I  laughed  at  the  idea,  then  said  jokingly,  'Miguel,  my 
hair  is  straight  and  dull.  I  would  have  it  lustrous  and 
curly'." 

"Oipamc,  senorita"  he  said  —  "Many  years  ago  a 
Castilian  prince  was  wedded  to  a  Moorish  beauty.  Her 
hair  was  black  as  a  raven's  wing  and  straight  as  an  arrow. 
Like  you,  this  lady  wanted  los  pelos  rizos  (curly  hair). 
Her  husband  offered  thousands  of  pesos  to  the  man  who 
would  fulfi'l  her  wish.  The  prize  fell  to  Pedro  the  droguero. 
Out  of  roots  and  herbs  he  brewed  a  potion  that  converted 
the  princess'  straight,  unruly  hair  into  a  glorious  mass 
of  ringlet  curls. 

"Pedro,  son  of  the  son  of  Pedro,  has  that  secret  today. 
Years  ago  I  did  him  a  great  service.  Here  you  will  find 
him,  go  to  him  and  tell  your  wish." 

"I  called  a  cocke  and  gave  the  driver  the  address  Miguel 
had  given  me. 

"At  the  door  of  the  apothecary  shop,  a  funny  old  hawk- 
nosed  Spaniard  met  me.  I  stammered  out  my  explana- 
tion. When  I  finished,  he  bowed  and  vanished  into  his 
store.    Presently  he  returned  and  handed  me  a  bottle. 

"Terribly  excited— I  could  hardly  wait  until  I  reached 
home.  When  I  was  in  my  room  alone.  I  took  down  my 
hair  and  applied  the  liquid  as  directed.  In  twenty  minutes, 
not  one  second  more,  the  transformation,  which  you  have 
noted,  had  taken  place. 

"Come,  Winnifred — apply  it  to  your  own  hair  and  see 
what  it  can  do  for  you." 

Twenty  minutes  later  as  I  looked  into  Charity's 
mirror  I  could  hardly  believe  my  eyes.  The  impossible 
had  happened.  My  dull,  straight  hair  had  wound  itself 
into  curling  tendrils.  My  head  was  a  mass  of  ringlets  and 
waves.    It  shone  with  a  lustre  it  never  had  before. 

You  can  imagine  the  amazement  of  the  others  in  the 
party  when  I  returned  to  the  ballroom.  Everybody 
noticed  the  change.  Never  did  I  have  such  a  glorious 
night.  I  was  popular.  Men  clustered  about  me.  I  had 
never  been  so  happy.  My  hair  was  curly  and  beautiful. 
I  asked  Charity's  permission  to 
take  a  sample  of  the  Spanish  liquid 
to  my  cousin  at  the  Century  Lab- 
oratories. For  days  he  worked, 
analyzing  the  liquid.  Finally,  he 
solved  the  problem,  isolated  the 
two  Spanish  herbs,  the  important 
ingredients. 

They  experimented  on  fifty 
women  and  the  results  were  sim- 
ply astounding.  Now  the  Century 
Chemists  are  prepared  to  supply 
the  wonderful  Spanish  Curling 
Lovely  Curls  Liquid  to  women  everywhere. 


Take  advantage  of  their  generous  trial  offer— 

I  told  my  cousin  I  did  not  want  one  penny  for 
the  information  I  had  given  him.  I  did  make  one 
stipulation,  however.  I  insisted  that  he  introduce  the 
discovery  by  selling  it  for  a  limited  time  at  actual 
laboratory  cost  plus  postage  so  that  as  many  women  ao 
possible  could  take  advantage  of  it.  This  he  agreed 
to  do. 

Don't  delay  another  day.  For  the  Century  Chemists 
guarantee  satisfaction  or  refund  your  money. 


Free  Distribution 
of  $3.50  Bottles 

(only  one  to  a  family) 

We  are  offering  for  a  1  Imited 
time  only,  no-profit  distribu- 
tion of  the  regular  S3. 50  size 
of  our  Spanish  Curling  Liquid. 

The  actual  cost  of  preparing 
and  compounding  this  Span- 
ish Curling  Fluid,  including 
bottling,  packing  and  shipping 
is  81.87.  We  have  decided  to 
ship  the  first  bottle  to  each 
new  user  at  actual  cost  price. 

You  do  not  have  to  send  one 
penny  in  advance.  Merely  fill  fVavy  Bob 
out  the  coupon  below — then  pay  the  postman 
81.87  plus  the  few  cents  postage,  when  he  delivers 
the  liquid.  If  you  are  not  satisfied  in  every  way, 
even  this  low  laboratory  fee  will  be  refunded 
promptly.  This  opportunity  may  never  appear 
again.  Miss  Ralston  urges  that  you  take  advan- 
tage of  it  at  once. 

CENTURY  CHEMISTS 

(Originatorsof  the  famous  40Minute  Beauty  Clay) 
Century  Bldg.,  Chicago 

Send  NoMoney-SimfilySignandMail  Coupon 

CENTURY  CHEMISTS  Dcpt.  278 

Century  Bldg.,  Chicago 

Please  send  me  in  plain  wrapper,  by  insured 
parce  post,  a  ful  size  83.50  bottle  of  Liquid  Mar- 
celle  (Spanish  Curling  Liquid*  I  will  pay  post- 
man 8187,  plus  few  cents  postage,  on  delivery, 
with  the  understanding  that  if,  after  a  five-day 
trial,  I  am  not  elated  w:th  the  results  from  this 
magic  curling  fluid,  I  may  return  the  unused  con- 
tents in  the  bottle,  and  you  will  immediately 
return  my  money  in  full. 

Name 

S'reet  

To'rn StTte 


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88 


Photoplay  Magazine — Advertising  Section 


What  does 
your  dinnej 


THE  FOOD  that  we  eat  today 
fails  to  give  our  teeth  the  work 
they  need.  Worse  than  that,  this 
soft  and  creamy  food  deprives  the 
gums  of  the  stimulation  that  rough, 
coarse  food  once  gave  them. 

Does  your  toothbrush 
"show  pink"? 

Gums  are  dull  and  logy;  they  get  no  ex- 
ercise —  no  stimulation.  Tooth  troubles, 
due  to  weak  and  softened  gums,  are  on 
the  rise  —  the  prevalence  of  Pyorrhea  is 
one  item  in  a  long  list. 

Dental  authorities  are  not  insensible  to 
this  condition.  Today  they  are  preaching 
and  practicing  the  care  of  the  gums  as 
well  as  the  care  of  the  teeth.  Nearly  three 
thousand  dentists  have  written  us  to  tell 
how  they  are  combating  soft  and  spongy 
gums  by  the  use  of  Ipana. 

In  stubborn  cases,  they  prescribe  a  gum- 
massage  with  Ipana  after  the  ordinary 
cleaning  with  Ipana  and  the  brush.  For 
Ipana  Tooth  Paste,  because  of  the  pres- 
ence of  Ziratol,  has  a  decided  tendency  to 
strengthen  soft  gums  and  to  keep  them 
firm  and  healthy. 

Ipana  is  a  tooth  paste  that's  good  for 
your  gums  as  well  as  your  teeth.  Its  clean- 
ing power  is  remarkable  and  its  tasteis  un- 
forgetably  good.  Send  for  a  sample  today. 

IPANA 

TOOTH  PASTE 

— made  by  the  makers  of  Sal  Hepatica 

In  generous  tubes 
Myers  j^T^^k.      ft      J        . 

c.?'         „  IP     ^^i^Tm.    stores  —  50c. 

51  RectorSt. 

New  York, 

N.Y. 

Kindly  send  me 

a  trial  tube  of 

IPANA    TOOTH 

PASTE    without        ^H^W         S^  Cs 

charge  or  obligation  on    ^SjJMI     ^.^V^ 

z::: .^t>s^ 

State \,kCW^ 


Herewith  we  present  a  visitor  from  Spain — Chicorrito,  upon  whose  shoulders 

rests  the  distinction  of  being  the  champion  picador  of  the  world.     He  is  about 

to  ride  forth  to  see  New  York  under  the  tutelage  of  Texas  Guinan,  the  famous 

star  of  western  pictures 


Gossip — East  and  West 


CONTINUED  FROM  PAGE  84  ] 


extracted  from  her  in  return  for  "stock"  in 
the  company.  But  Cecil  never  saw  her  name 
in  lights,  nor  even  a  camera.  So  she  went  to 
the  district  attorney  with  her  story  and  found 
that  several  embryo  Baras  and  Valentinos  had 
preceded  her. 

The  moral  of  this  drama  is:  Beware  of 
Schools  of  Acting.  Beware  of  everything 
except — Work. 

(COLLEEN  MOORE  has  arrived  as  a  star. 
^"— 'And  everybody  is  celebrating,  for  Colleen 
has  been  a  favorite  child  of  Hollywood,  particu- 
larly with  the  press  boys.  Colleen  might  be 
held  up  as  an  example  of  the  power  of  off- 
screen personality.  Shy,  lacking  in  self- 
confidence  and  yet  persistent,  she  has  gone 
steadily  on.  She  has  unusual  judgment  and 
sanity  and,  like  Tommy  Meighan,  she  makes 
friends  through  sincerity  and  keeps  them  by 
loyal  appreciation. 

She  has  signed  a  long-term  contract  with 
First  National.  Her  first  picture  will  be 
"The  Huntress,"  a  comedy  drama,  and  her 
second  "Flaming  Youth"  by  Warner  Fabian. 

Cal  congratulates  Colleen! 

A/TARION  DAVIES  took  a  party  of  fifty 
-*■  *-*-guests  aboard  William  Randolph  Hearst's 
steam  yacht,  Oneida,  and  sped  down  the  Hud- 
son to  welcome  her  director,  Robert  G. 
Vignola,  when  he  arrived  at  the  quarantine 
station  aboard  the  Aquitania.  Arrangements 
had  been  made  to  transfer  Mr.  Vignola  to  the 
yacht  without  the  formula  of  passing  through 


the  custom  house,  and  an  elaborate  luncheon 
had  been  prepared  in  his  honor.  But  upon 
reaching  the  Aquitania  it  was  learned  that  he 
and  his  sister,  who  accompanied  him,  were 
in  mourning  for  their  father,  who  died  just 
before  the  ship  embarked.  Rather  than 
sadden  the  festivities  with  his  presence,  Mr. 
Vignola  refrained  from  boarding  the  yacht, 
although  he  came  alongside  in  a  steam  launch 
to  greet  his  friends. 

MET  Norma  Talmadge  on  the  boulevard 
the  other  morning  and  she  said,  "Well,  I 
think  they're  playing  some  sort  of  a  joke  on  me. 
They've  been  shooting  three  weeks  on  my  new 
picture  already  and  I'm  not  in  it  yet.  I  guess 
they're  planning  to  leave  me  out  altogether." 

REX  INGRAM  never  knew  Lloyd  Ingraham 
was  Irish  until  the  other  day.  Lloyd  is 
playing  Kercadien  in  Ingram's  "Scara- 
mouche."  The  scene  was  the  music  room  of 
the  chateau  with  a  'cello  and  a  harp  in  the  fore- 
ground. Lloyd  was  seated  by  the  fire  upstage. 
In  surveying  the  composition  of  the  "set" 
Rex  decided  that  the  harp  was  too  large. 
"Put  that  harp  off  the  set,"  he  yelled.  Lloyd 
jumped  up,  "Is  he  talking  to  me?"  he  asked 
the  assistant. 

CONSTANCE  BINNEY  is  retiring  from 
stage  and  screen  to  become  the  wife  of  a 
Pittsburgh  millionaire,  I  hear.  Her  last  film 
appearance  was  for  an  English  company,  and 
since  then  she  has  been  playing  in  a  Broadway 
theater. 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


VIRGINIA  PEARSON  is  returning  to  the 
screen  after  ages  of  rest.  She  used  to  be 
with  William  Fox,  you  know,  one  of  the  merrie 
vampires  of  long  ago.  Maybe  some  of  our 
oldest  subscribers  will  remember  the  rumors 
of  merrie  jousts  between  her  and  sister  vampire 
Bara.  By  the  way,  Theda  is  in  Los  Angeles 
with  her  husband,  Charles  Brabin,  who  has 
been  directing  Corinne  Griffith  in  "Six  Days." 
Another  report  that  Theda  contemplates  re- 
turn to  the  screen  is  current — in  fact,  it's  quite 
continuous.  I  wonder  that  it  is  not  sub- 
stantiated. It  would  be  interesting  to  see 
the  siren  again. 

HAROLD  LLOYD  has  started  married  life 
right. 

He  and  Mildred  agreed  upon  a  system 
whereby  Harold  has  two  nights  out  every 
week.  Generally  he  spends  them  on  his 
favorite  sport,  bowling,  and  Mildred  goes  to 
the  theater.  Or  admires  her  new  home,  or 
plans  more  pretty  new  clothes. 

They're  taking  a  honeymoon  trip  to  New 
York  this  month. 

"K  yfABEL  BALLIN  slipped  into  a  Los 
■"■•■Angeles  theater  the  other  day  and  sat  in 
the  gallery  to  see  her  picture,  "Vanity  Fair." 

Sitting  next  to  her  were  a  couple  of  gum- 
chewing  young  ladies  and  as  the  picture 
progressed,  one  said  loudly,  "Gosh, don't  that 
Mabel  Ballin  look  old,  I'll  bet  she's  all  of 
twenty-six." 
And  the  other  replied,  "Yep,  and  she's  got 
awful  fat,  too." 

Thereupon  Mabel,  who  had  just  lost  ten 
pounds  from  hard  work,  got  up  and  went  dis- 
consolately out. 


Malcolm  McGregor  keeps  in  trim  by  a 
stiff  daily  training.  And — since  every 
director  seems  to  cast  him  for  a  fighting 
role  —  apparently  he  needs  his  daily  doz- 
en more  than  any  other  player  in  the  Los 
Angeles  colony 


89 


HAROLD   LLOYD 

You  might  imagine  that  this  nervy  young  man  who  has 
his  audiences  holding  onto  the  seat,  squirming  and  shriek- 
ing while  he  plays  "human  fly"  in  his  latest  picture,  Safety 
Last,  would  be  indifferent  to  traffic  dangers.    But  not  so. 

Harold  Lloyd  is  a  100%  safety  first  motorist — Biflex 
Bumpers,  both  front  and  rear,  on  his  car.  "I  can  take 
care  of  myself,  even  to  climbing  a  tall  building,"  reasons 
Mr.  Lloyd,  "but  I  can't  depend  on  the  other  fellow." 

What  sound  logic!  With  the  millions  of  motorists,  there 
are  bound  to  be  careless  ones.  And  one  crash  might 
mean    injury,    serious    loss    of  time,   expensive   repairs. 

Biflex  Bumpers  are  always  the  choice  of  motorists  who 
demand  real  protection.  Biflex  is  scientifically  built, 
strength  proportioned  to  car  weight.  Cushions  terrific 
smashes,  protecting  car  and  passengers.  Enhances 
beauty  of  any  car.    Affords  Protection  with  Distinction. 

Biflex  your  car  now.  Sold  by  auto  and  accessory  deal- 
ers everywhere.     Priced  $23  to  #28. 

BIFLEX  PRODUCTS  CO.,  Waukegan,  III. 

Biflex  Bumpers  and  Brackets  are  guaranteed  against 
breakage  for  one  year.     Fully  protected  by   U.  S,  Patents. 

"Biflex 

Spring  "Bumper 


Trade  Mark, 
Look  for  it 


"Protection  with  Distinction' 


When  you  write  to  advertisers  nlease  mention  riTOTOI'I.AY  MAGAZINE. 


9° 


Photoplay  Magazine — Advertising  Section 


Motoring 

These  are  the  days  when  you 
answer  "the  call  of  the  open." 

These  are  the  days  when  you 
pack  the  kit  or  lunch  basket 
and  seek  the  places  of  pure  air 
and  budding  nature. 

And  how  the  fresh  air  does 
sharpen  the  appetite.  Take 
plenty  of  lunch. 

A  better  spread  for  your  sand- 
wiches than  Kraft  Cheese — in 
tins— is  not  made.  If  the  lunch 
kit  is  full,  toss  a  tin  or  two  into 
the  car;  it  will  be  safe;  and  fresh; 
and  good,  when  you  get  there. 

Kraft  Cheese  is  not "  j  ust  cheese.' ' 
It's  different — very  much  so — 
and  that  difference  is  the  thing 
you'll  like.  That  exquisite  flavor 
of  Kraft  Cheese  doesn't  just 
•  happen;  we  do  it  by  blending; 

by  making  good  cheese  better. 
We  make  eight  kinds,  but  only 
one  quality. 

No  rind — it  spreads.   No  waste — 100  %  cheese. 
Cheese  Recipe  Book  FREE 

J.  L.  KRAFT  &  BROS.  CO. 

CHICAGO.  ILLINOIS 

KRAFT-MACLAREN  CHEESE  CO.,  Ltd. 


MONTREAL.  CANADA 


npWO  of  Hollywood's  leading  lights  were 
-*•  residents  of  the  Los  Angeles  county  jail 
this  month. 

Gladys  Walton,  a  Universal  star  (just  why 
no  one  seems  to  know), and  Joe  Jackson, pub- 
licity director  for  Goldwyn,  both  caught  the 
attention  of  the  speed  cops  by  driving  their 
cars  some  fifty  or  sixty  miles  an  hour  and  in 
consequence  were  given  three  day  jail  sen- 
tences. 

Both  are  out  now  and  doing  well. 

But  here  is  the  real  joke.  Gladys  attended 
a  dinner  party  the  day  she  was  handed  her 
summons.  At  the  party  were  a  number  of 
well  known  picture  executives.  She  appealed 
to  Watterson  R.  Rothacker,  the  youngster 
who  made  an  art  of  printing  and  developing 
film,  and  incidentally  a  fortune,  for  advice. 

"You're  a  business  man,  Mr.  Rothacker," 
she  said.  "What  shall  I  say  when  I  face  the 
judge?  Shall  I  deny  I  was  speeding?  I  hate 
the  idea  of  a  jail  sentence." 

"No,"  said  the  shrewd  business  man. 
"Tell  the  truth.  The  judge  win  be  so  shocked 
he'll  faint,  and  when  he  comes  to  he  will  give 
you  a  light  fine." 

She  did,  but  the  judge  didn't  lose  consciou-- 
ness  until  he  said,  "Three  days  in  jail." 

pHYLLIS  HAVER,  who  began  production  of 
*-  "The  Extra  Girl,"  has  left  the  cast  and 
Mabel  Normand  has  taken  her  place. 

The  part  was  originally  intended  for  Mabel, 
but  when  she  delayed  her  return  from  the  east 
so  long,  Phyllis  was  substituted,  but  the  part 
was  wholly  unsuited  to  her  type  of  work. 

T  EATRICE  JOY  and  Jack  Gilbert  do  have 
-'-'such  a  time  denyang  that  they  are  separated 
or  divorced  or  something  like  that. 

With  tears  in  her  eyes,  Leatrice  says  that 
never  a  day  goes  by  that  someone  doesn't 
report  somewhere  that  she  and  Jack  have 
become  estranged. 

The  truth  of  the  matter  is  that  these  two 
young    stars    are    a    bit    temperamental    and 


occasionally  they  have  a  tiff — or  even  a  little 
spat — and  Letty  moves  out  or  Jack  disappears 
for  a  few  hours. 

But,  they  are  devoted  and  their  own  opinion 
is  that  they'll  celebrate  their  golden  wedding 
together  if  people  will  just  let  them. 

"CRED  THOMPSON,  who  has  three  claims 
*-  to  distinction  in  that  he  was  for  ten  years 
the  world's  champion  athlete,  a  chaplain  deco- 
rated for  bravery  in  the  war,  and  is  now  mar- 
ried to  Frances  Marion,  has  become  a  Univer- 
sal serial  star. 

On  his  first  picture  he  had  a  narrow  escape 
from  death  when  he  jumped  from  the  window 
of  a  ten  story  building  onto  a  ledge  one  story 
below  and  sprained  his  ankle  in  the  jump. 
Unable  to  move,  he  hung  by  his  fingers  for 
several  minutes  until  a  net  could  be  placed 
below  him. 

("COSMOPOLITAN  productions  have  closed 
^— 'their  western  organization  and  in  the  future 
will  make  all  their  pictures  in  New  York. 

Frances  Marion,  director-general  of  the 
west  coast  companies,  will  not  go  to  New  York 
with  the  rest  of  the  organization,  but  will  write 
scenarios  in  Hollywood  for  Cosmopolitan. 

'""THAT   guy  carries   his  audience   around 
*•  with    him    all    right,"    said    someone   to 

Hobart  Henley,  as  a  well  known  actor  went  by 

with  a  train  of  friends  and  hangers  on. 

"That's  nothing,"  said  Henley,  "I've  known 

actors  who  actually  married  theirs." 


JIMMY  CRUZE,  who  directed  "The  Covered 
J  Wagon,"  couldn't  attend  the  opening  night 
in  Hollywood,  because  he  hasn't  any  dress 
clothes. 

As  a  matter  of  fact,  until  his  great  success 
with  this  picture  forced  him  into  public  gaze, 
his  friends  declare  that  Jimmy  hadn't  had  on 
anything  but  golf  pants  and  a  Mackinaw  in 
four  years.  Now,  he's  bought  a  tweed  golf 
suit  and  a  dinner  jacket. 


AMERICAN  CHEDDAR 

^  CHEESE ^ 


Nita  Naldi's  famous  ankles.    Nita  -positively  refuses  to  wear  stockings,  in  or  out 

of  the  studio.    She  has  put  lierfoot — indeed,  both  of  them — firmly  down.     You  just 

know  she  doesn't  wear  'em.    Don't  overlook  the  exotic  touch  given  by  the  scarab  in 

the  center  of  the  jeweled  buckles,  the  newest  feminine  novelty 


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Photoplay  Magazine — Advertising  Section 


COMEBODY'S  always  being  hurt  in  pictures. 
*-^They  will  go  in  for  such  realism  in  wrecks 
and  stampedes  and  floods  and  fires.  Now  it's 
Cliff  Bowes,  of  the  Cameo  comedies!  Imagine 
being  sent  to  the  hospital  because  of  a  house- 
wrecking  scene  in  a  comedy!  But  that's  what 
happened  to  Cliff. 

SOMEBODY  was  discussing  art  on  William 
Worsley's  set. 

"Who  is  this  fellow,  'Art,'  I  hear  you  all 
talking  so  much  about,"  asked  Worsley. 
"I  don't  know  him." 

"No,"  said  Patsy  Ruth  Miller,  "most  of 
you  directors  haven't  met  him  yet." 

GLORIA  SW ANSON  had  a  birthday  party 
for  herself  the  other  evening  in  her  beautiful 
Beverly  Hills  home.  Everything  was  gor- 
geously decorated  and  Gloria  served  menus 
to  her  guests. 

Charlie  Chaplin  and  Pola  were  there,  and 
Mr.  and  Mrs.  Harold  Lloyd,  Marshall  Neilan 
and  a  number  of  other  guests.  Gloria  wore  a 
gown  of  orchid  crepe,  trimmed  with  beads. 

Gloria  is  evidently  trying  to  be  as  original 
as  her  friend,  Elinor  Glyn.  We  wonder  if  the 
smart  set  of  New  York  and  Newport  will  take 
to  the  idea.  Probably  not.  It  savors  too  much 
of  an  Elks'  banquet  for  a  private  dinner. 

MONTHLY  BULLETIN: 
Constance  Talmadge  and  Irving  Thalberg, 
the  boy  manager  of  Universal,  have  been  seen 
together  so  frequently  of  late  that  engage- 
ment rumors  are  flying  thick  and  fast.  It's  so 
unusual  to  see  Connie  with  the  same  devoted 
suitor  more  than  a  couple  of  times  in  suc- 
cession. 

Certainly  Irving's  intentions  are  serious,  for 
he  ordered  six  new  suits  from  his  tailor  the 
other  day  and  insisted  they  had  to  be  finished 
immediately — and  very  springy  and  bridal 
looking  they  all  are,  too. 

However,  just  between  us,  we  think  it  will 
be  a  long  time  before  the  youngest  Talmadge 
assumes  the  bonds  of  matrimony  again. 
Being  single  is  too  much  fun. 

Connie,  by  the  way,  is  especially  devoted  to 
her  young  nephew,  Joseph  Talmadge  Keaton, 
and  is  his  favorite  playfellow.  When  Connie 
arrives  in  the  nursery,  all  discipline  disappears 
and  the  two  frolic  about  on  the  floor  until 
small  "Buster"  is  in  roars  of  laughter. 

WE  really  think  the  toastmaster  at  a  recent 
motion  picture  banquet  who  referred  to 
Mrs.  Coogan  as  "the  goose  that  laid  the  golden 
egg"  was  a  bit  indelicate.  It  may  be  true, 
but  why  speak  of  it? 

"CLORENCE  REED  was  arrested  the  other 
*•  day,  and  taken  to  court  and  fined.  Really! 
A  hard-hearted  and  cold  blooded  officer  of  the 
law  arrested  her  for  walking  in  the  park  with 
her  two  dogs,  Coffee  and  Muffins.  The 
charge  was  that  the  dogs  were  not  wearing 
muzzles — which,  under  a  new  ruling,  is  a 
finable  offense.  Florence  explained  to  the 
judge  that  her  dogs  were  of  the  breed  that 
hasn't  much  nose — and  that  she  couldn't  make 
a  muzzle  stay  on  either  of  them.  So  the  judge 
laughed,  and  only  fined  her  one  dollar.  But 
as  she  was  leaving  the  court  room  he  told  her 
that  she'd  better  have  a  couple  of  muzzles  J 
made  to  order. 

"NTOW  that  Tom  Mix  is  a  visitor  in  the  big 
■*-^  city,  mothers  are  chaining  theii  small  boys  [ 
at  home,  to  the  bed  post.  For  the  spring 
fever,  in  itself,  is  hard  enough  for  mothers  to 
combat — without  Tom  Mix,  in  person,  to 
add  to  the  lure  of  adventure.  "In  spring  a 
young  man's  fancy  lightly  turns  to  thoughts  of 
love."  But  in  spring  a  little  boy's  fancy  is 
absorbed  with  plans  for  running  away,  and 
being  a  cowboy  and  fighting  Indians.  And 
the  presence  of  Tom— even  though  he  is 
stopping  at  a  hotel  instead  of  camping  out  in 
the  wildest  section  of  Central  Park — cannot 
help  but  add  largely  to  the  cosmic  urge. 


91 


You'll  be  glad  to 
know  this 


kHAT    Listerine,   the 


T1 

_L  well  known  antisep- 
tic, is  also  a  very  ca- 
pable and  safe  deodor- 
ant. And  that  it  cannot 
injure  the  most  delicate 
skin,  or  the  daintiest 
garment. 


When  it's  miles  between  tubs 

So  often  you  don't 
have  time — or  access  to 
— a  tub  or  shower.  Yet 
you  want  to  be  fresh 
and  immaculate.  Every 
fastidious  person  must  be. 
Call  on  Listerine  —  your 
old  friend.  It  will  do 
the  work.  You  will  be 
delighted. 


When  you're  wishing  for 
the  old  tub  way  back  home 

Simply  douse  it  on 
when  you  have  been 
perspiring.  See  how 
sweet  and  refreshed  and 
clean  it  leaves  you  — 
evaporating  quickly  and 
removing  all  trace  of 
embarrassing  odor. 


//  you're  hot  and  sticky 
after  an  afternoon's  shopping 


LAMBERT  PHARMACAL  COMPANY 

SAINT   LOUIS,    U.  S.  A. 


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Q2  Photoplay  Magazine — Advertising  Section 

LEVIATHAN 


Largest 
Ship, 

in  the  World 

b  an 

America 
,__\    Ship 


j? 


THE  S.  S.  Leviathan  first  sails/ 
to  Europe  as  a  passenger  ship 
under  the  American  flag  on  July  4th. 
Thus  the  largest  and  most  luxurious 
vessel  in  the  world  fittingly  becomes 
flag-ship  of  the  magnificent  United 
States  Lines  fleet  to  Europe. 

But  the  Leviathan  is  but  one  of 
an  entire  fleet  which  is  unique  in 
the  transatlantic  service.  You  should 
learn  about  these  beautiful  and  fa- 
mous  American  ships — your  ships. 

Other  first  class  liners  are: 

S.S.  George  Washington 
S.S.  President  Harding 
S.S.  President  Roosevelt 

One  of  these  ships  sails  from  New 
York  each  Saturday.  In  addition, 
there  is  a  fleet  of  nine  splendid  cabin 
ships — five  in  the  London  service 
and  four  to  Bremen. 

Send  in  the  information  blank  to- 
day —  A' 'Off — before  you  forget 
it,  and  learn  about  this  great  fleet. 


information  blank 

To  U.  S.  Shipping  Board 
Inlor.  Sect.    B 172  Washington,  D.C. 

Please  send  without  obligation  the  U.  S.  Govern- 
ment literature  described  above.  1  am  considering 
a  trip  to  Europe  D,  to  the  Orient  D,  to  South 
America  D. 


//  I  eo  date  will  be  about  _ 
My    Name . 


My  Strict  No.  or  R.F.D. 


United  States  Lines 

45  Broadway  New  York  City 

Agencies  in  all  the  Principal  Citiei 
Managing  Operators  for 

U.  S.  SHIPPING  BOARD 


One  of  the  big  social  events  of  the  Hollywood  colony  was  the  ball  given  by  the 
Wampas—an  association  of  West  coast  publicity  men- — at  which  the  "stars  of 
tomorrow"  were  elected  by  the  organization.  The  stellar  nominees  as  pictured 
above  are:  Top  row,  Derelys  Perdue,  Betty  Francisco,  Virginia  Brown  Faire. 
Second  row:  Evelyn  Brent,  Elean  Boardman,  Helen  Lynch.  Third  row: 
Jobyna  Ralston,  Dorothy  Devore,  Kathleen  Key.  Fourth:  Laura  La  Plante 
Seated:     Ethel  Shannon,  Pauline  Garon,  Margaret  Leahy 


PRNEST  TORRENCE,  who  played  the 
-'-'guide  in  "The  Covered  Wagon,"  has  been 
signed  by  Paramount.  There  is  a  wise  move 
for  both  of  them. 

SOME  pictures  are  called  "Extra"  pictures. 
Why?  Because  there  are  so  many  extras 
in  'em,  of  course.  "Under  the  Red  Robe" — 
how  in  process  of  construction  by  Cosmopoli- 
tan— comes  in  this  class.  The  extra  bill 
alone,  for  one  working  day,  comes  to  about 
fifteen  thousand  dollars.  The  picture,  or 
that  part  of  it  that  requires  mob  scenes,  is 
being  filmed  in  a  large  New  York  armory — 
for  the  Cosmopolitan  studio  was  almost 
demolished,  not  so  long  ago,  by  fire.  Aside 
from  the  extras,  the  cast  is  to  include  Alma 
Rubens,  Robert  Mantell,  and  John  Charles 
Thomas — the  w.  k.  tenor. 

TT  was  in  a  large  theater  in  Macon,  Georgia, 
-•-and  they  were  showing  Mary  Pickford's 
"Tess  of  the  Storm  Country."  The  scene 
was  that  affecting  one  where  Tcss  comes  into 
the  great  church,  with  its  rich  congregation, 
to  baptise  her  baby.  As  she  enters  the  church, 
and  pauses  under  the  stained  glass  window, 
and  approaches  the  door,  there  is  a  chance  for 
some  real  pathos — and  Mary  takes  advantage 
of   the  chance!     And   the  theater  orchestra, 


also  taking  advantage  of  the  chance,  began  to 
play,  softly,  that  good  old  revival  hymn 
"Rescue  the  perishing,  save  the  dying."  And, 
quite  suddenly,  and  with  no  warning,  the 
audience  of  one  thousand  men  and  women 
started  to  sing  the  words  of  the  song.  To 
sing  with  a  spirit  and  fervor  that  is  seldom 
heard  in  the  general  singing  of  a  church 
service!  And  when  the  hymn  was  over,  there 
were  few  dry  eyes  in  the  house.  And  yet 
some  folks  say  that  the  movies  exert  a  bad 
influence. 

'""THE  COVERED  WAGON, "which  is  sell- 
*■  ing  out  weeks  in  advance  in  New  York,  i^ 
not  doing  so  very  well  in  Chicago.  Students  of 
psychology  explain  this  by  saying  that  stories 
and  pictures  and  plays  of  the  great  West,  or  of 
the  crossing,  never  go  so  well  in  the  middle  west 
and  the  far  west  as  they  do  in  the  eastern  part 
of  the  country.  And  perhaps  that  is  so — at 
least  it  seems  a  logical  explanation.  People 
want  to  see  something  that  is  different,  and  the 
days  of  '40  are  not  very  far,  even  yet,  from 
Chicago  and  points  beyond!  Pictures  of  Paris 
and  pretty  clothes  are  apt  to  draw  a  larger 
crowd  than  the  epoch-making  drama  of  a  drab 
wagon  train,  winding  across  a  drab  stretch  of 
prairie. 


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MARION  DAVIES'  father,  Judge  Bernard 
J.  Douras,  has  been  reappointed  as  a 
magistrate  by  Mayor  Hylan  of  New  York  for 
a  period  of  ten  years.  He  received  the  con- 
gratulations of  his  four  proud  daughters, 
Marion,  Rose,  Ethel  and  Reine. 

I  JUST  happened  to  stroll  through  the  two 
sets. 

On  one,  Pola  Negri  was  making  her  great 
scene — the  courtroom  scene — for  "The  Cheat." 

On  the  other,  Leatrice  Joy  was  doing  the 
big  scene  for  her  new  picture,  "The  Silent 
Partner." 

Pola  spent  most  of  her  time  with  her  make- 
up. She  powdered,  lip-sticked,  patted  her 
hair  and  adjusted  her  clothes  every  time  the 
camera  stopped  grinding.  Watching  her 
proved  cold  and  uninteresting  in  the  extreme 
and  Director  Fitzmaurice  was  literally  sweat- 
ing in  his  effort  to  get  something  convincing 
out  of  her. 

On  the  other  hand,  Charles  Maigne,  stand- 
ing back  with  simple  stage  directions  for  Lea- 
trice  and  Owen  Moore,  was  producing  some- 
thing exactly  as  fascinating  as  the  third  act 
of  a  very  good  stage  play.  Leatrice's  work 
was  as  effective,  in  every  way,  as  that  of  a 
first  class  stage  star.  She  was  literally  sunk 
in  her  role,  torn  with  feeling,  wouldn't  get  out 
of  her  part  long  enough  to  speak  to  me,  or  to 
so  much  as  glance  in  a  mirror.  I  stood  fasci- 
nated for  an  entire  afternoon,  enjoying  every 
moment  of  her  tremendous,  emotional  and 
convincing  work.  , 

We  don't  wish  to  say  anything  about  Miss 
Negri's  great  art — but  let's  not  neglect  nor 
forget  to  applaud  such  home  talent  as  Miss 
Joy's  in  our  appreciation  of  foreign  greatness. 

HpHEY  say  that  it  takes  Arthur  Edmund 
■*■  Carew,  the  Svengali  of  Richard  Walton 
Tully's  production  of  "Trilby,"  four  whole 
hours  to  adjust  the  various  whiskers  that  he 
wears  in  the  part.  As  work  starts  promptly 
every  morning,  at  nine,  little  Arthur  is  forced 
to  start  making  up  in  the  cold  and  chilly  dawn 
— round  about  five  o'clock.  Or  so  his  press 
agent  says.  Really,  we  should  think  it  would 
pay  Mr.  Carew  to  grow  his  own! 


Another  camera  study  of  that  redoubtable 
director,  Marshall  Neilan.  At  this 
period  of  his  career,  eighteen  months,  to 
be  exact,  Micky  didn't  think  so  much  of 
photography.  Yet,  had  the  motion  picture 
developed  at  that  lime,  Micky  might  have 
been  the  Jackie  Coogan  of  his  day 


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AMERICAN  ^STATIONERY 


m>«\)«n 


■  '■■""■""■ 


kA  Cjcnerous  Pack, 
at  a  Xbuy  y^nco 


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MONEY  READILY  REFUNDED  IF  YOU 
ARE  NOT  WHOLLY  SATISFIED 


Flo  Ziegfeld,  Jr.,  husband  of  Billie  Burke,  is  probably  the  best  known  authority  on 
beauty  in  America.    His  famous  Follies,  which  have  been  devoted  to  glorifying  the 
w.  k.  American  girl  for  years,  have  established  Ziegfeld  as  the  1923  Paris  of 
pulchritude.    Note  the  bored  expression  on  his  face — and  wonder! 


A  ND  now  they  say  that  Max  Linder,  having 
-'^-recovered  from  a  fall  from  an  Alp  and  a 
smash-up  in  an  automobile  wreck,  has  dis- 
appeared. Disappeared  utterly,  and  efficiently, 
and  completely.  But  nobody's  very  much 
worried,  for  they  say,  in  Parisian  circles,  that 
the  little  French  comedian  has  eloped.  With 
the  daughter  of  a  millionaire  who,  like  the 
heavy  father  in  "The  Studio  Secret,"  doesn't 
approve  of  motion  picture  idols  for  sons-in-law. 
The  last  few  months  for  Max  have  been  some- 
thing of  a  scenario.  With  the  usual  affectionate 
fadeout. 

OUR  intimation  last  month  that  all  was  not 
well  with  that  ideal  married  couple,  the 
Vidors,  has  been  substantiated  by  a  frank 
statement  from  Mrs.  Vidor,  who  has  returned 
from  Honolulu  with  little  Suzanne.  Mr.  Vidor 
is  not  living  at  the  home  on  Fairfax  avenue  in 
Hollywood,  but  the  couple  are  sometimes  seen 
together  in  the  cafes.  Florence  declares  that 
no  divorce  is  contemplated. 

"Mr.  Vidor  and  I  are  the  best  of  friends," 
she  says,  which  reminds  us  of  the  saying  that 
the  best  of  friends  must  part.  She  adds  that 
there  is  no  other  man  or  other  woman  con- 
cerned. 

"We  are  two  definite,  forceful  personalities," 
Mrs.  Vidor  remarked,  "and  it  is  our  purpose 
to  work  out  our  individual  destinies  so  that 
neither  will  be  called  upon  to  relinquish  certain 


concepts,  certain  beliefs  and  certain  ideals 
which  we  hold. 

"This  is  something  which  concerns  only  the 
two  of  us.  Through  no  fault  of  our  own,  Mr. 
Vidor  and  myself  have  been  pictured  as  one 
of  the  happiest  married  couples  in  pictures. 
We  have  been  happy.  We  are  yet,  and  still, 
with  the  passing  of  the  years,  the  question  of 
individual  growth  and  development  has  come 
to  be  the  overshadowing  one. 

"We  hope  yet  to  find  some  middle  ground 
upon  which  we  may  stand  and  together  attain 
the  maximum  amount  of  happiness.". 

During  their  marital  "vacation"  the  Vidors 
have  agreed  upon  individual  independence. 
But  there  seems  to  be  nothing  in  the  report 
that  King  is  particularly  interested  in  Eleanor 
Boardman,  the  young  Goldwyn  actress,  al- 
though they  have  been  seen  together  at  a 
number  of  affairs. 

THE  Eastern  colony  is  predicting  that  Alice 
Brady  will  become  the  bride  of  Kenneth 
MacKenna  very  shortly.  He  is  the  juvenile 
leading  man  in  the  Broadway  stage  play  "You 
and  I."  Last  year  he  appeared  in  "The  Nest," 
produced  by  William  A.  Brady,  Alice's  papa. 
Alice,  herself,  has  scored  a  personal  hit  in 
"Zander  the  Great,"  a  stage  drama  that  rivals 
any  film  for  hokum.  You  will  recall  that  Miss 
Brady  was  divorced  some  time  ago  from  Tame"- 
Crane,  the  actor  and  son  of  Dr.  Frank  Crane. 


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THE  screen  is  giving  new  words  to  the 
American  language.  The  terms  close-up, 
fadeout  and  long-shot  have  become  of  common 
usage,  while  the  younger  set  chats  airily  of 
sheiks  and  shebas, — synonyms  for  the  archaic 
words  beaux  and  dames.  And  just  the  other 
day  we  heard  a  young  sheba  refer  to  a  young 
sheik  as  "a  slow-motion  guy!" 

YOU  should  have  been  with  us — it  was  such 
a  party  that  Barbara  La  Marr  gave  at  the 
Ambassador  Hotel  shortly  before  her  marriage 
to  Jack  Dougherty.  In  addition  to  the  hostess, 
such  beauties  as  Enid  Bennett,  Theda  Baraand 
Dagmar  Godowsky  dazzled  the  orbs.  The 
gentlemen  of  the  party  were  Frank  Mayo, 
Charles  Brabin,  Fred  Niblo,  Benjamin  B. 
Hampton  and  Jack  Dougherty. 

'""THE  STREET  SINGER"  is  the  title  chosen 
*•  for  Mary  Pickford's  next  picture — the  story 
of  medieval  Spain,  directed  by  Ernst  Lubitsch, 
in  which  Mary  departs  radically  from  her  old 
style  of  characterization.  Doug's  next  picture 
will  be  "The  Thief  of  Bagdad,"  with  the  city 
of  Bagdad  now  in  the  process  of  building  in 
•  Hollywood. 

Mary  staged  a  title  contest  within  the  or- 
ganization before  naming  her  picture.  The 
prize  consisted  of  a  wrist  watch  or  a  sum  of 
money,  and  was  won  by  husband  Doug  and 
Mary's  attorney,  Dennis  O'Brien,  both  hitting 
upon  "The  Street  Singer."  Since  a  wrist 
watch  can't  be  divided,  I  suppose  they'll  have 
to  split  the  purse.  Anyhow,  it  is  nice  to  know 
Dougie  has  some  spending  money. 

IT'S  a  poor  star  who  hasn't  an  oil  well  to  his 
credit.  There's  a  Jackie  Coogan  gusher, 
yielding  barrels  and  barrels.  The  Buster 
Keaton  well  is  bringing  in  3,000  barrels  a  day. 
And  the  Claire  Windsor  well  is  not  disap- 
pointing. 

SYDNEY  CHAPLIN.  Charlie's  brother,  will 
come  back  as  a  star  in  "Her  Temporary  Hus- 
band," a  farce  comedy  being  produced  for 
First  National. 


MONEY 

FOR  YOU! 

A  top  prize  of  $1,500.00 
and  forty 'nine  other  prizes 

$5,000 

IN  ALL 

A  simple  puzzle  con' 
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Turn  to  rotogravure  sec 
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for  conditions  of  contest. 


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the  bitter  toil  of  100,000  men 
for  twenty  years.  Men  died 
like  flies. 

The  world  does  progress.  A 
modern  skyscraper  goes  up 
in  a  fraction  of  a  year— work- 
men furnishing  the  skill  and 
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THIS  beauty  acces' 
sory  sets  a  new 
standard  of  puff  dainti- 
ness. Its  characteristic 
soft  caress  spreads 
powder  evenly  with' 
out  waste.  Your  dis- 
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workmanship  of  the 
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individual  taste. 

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*Do-<ft 

Title  itcs.  u.  s.  Pat.  on. 


'T'HIS  is  YOUR  Department.  Jump  right  in  with  your  con- 
**■  trtbutton.  What  hare  you  seen,  in  the  past  month,  that 
was  stupid,  unltfe  like,  ridiculous  or  merely  incongruous?  Do 
not  generalize;  confine  your  remarks  to  specific  instances  of  ab- 
surdities in  pictures  you  have  seen.  Your  observation  will  be 
listed  among  the  indictments  of  carelessness  on  the  part  of  the 
actor,  author  or  director. 


THE  LONG  AND  SHORT  OF  IT 
TN  "Java  Head,"  when  Taon  Yuen  leaves  the 
-*-ship  with  Gcrrit,  her  finger  nails  are  long  and 
crooked  in  real  Chinese  fashion;  five  minutes 
ater,  while  being  introduced  to  Gerrit's  folks, 
her  nails  are  seen  to  be  short  and  well  mani- 
cured. Some  change!  Also,  after  Gcrrit  sur- 
prises his  family  by  returning  home  married,  he 
calmly  turns  to  his  sister  and  says,  "Show  my 
wife  to  her  room."  Rather  thoughtful  of  them 
to  have  provided  a  room  for  her  beforehand, 
wasn't  it? 

Jophes,  Oak  Lane,  Penna. 

CONSIDER  THE  TITLE 
T5LEASE  tell  me  who,  in  "Broken  Chains," 
■*-  let  the  wolf  hound  loose  when  the  hero  was 
fighting  with  the  villain?    There  was  no  one  in 
the  room. 

Mrs.  Frank  Smith,  Alliance,  Neb. 

LET  YOUR  LIGHT  SO  SHINE 
TN  George  Melford's  production,  "Ebb  Tide," 
•Mhe  poor  shipwrecked  sailors  are  stranded  on  a 
deserted  corner  of  Tahiti.  During  the  storm 
they  seek  shelter  in  the  remains  of  a  deserted 
hut.  In  the  morning  as  the  tropical  sun  lights 
a  blue  sky,  lo  and  behold,  there,  within  ten  feet 
of  their  shelter,  stands  a  firstclass  lamp-post  in 
Ai  condition.  Now  it  seems  queer  to  me  that 
on  such  a  dark  and  stormy  night  that  lamp 
was  not  lit,  but  the  poor  mariners  seemed  not 
to  notice  the  carelessness  of  the  street  depart- 
ment. 

W.  E.  Weber,  Aberdeen,  Wn. 

RURAL  TOUCH— OR  BURLESQUE? 
1"  AST  night  I  saw  "Quincy  Adams  Sawyer." 
-^-'Elmo  Lincoln  as  the  blacksmith  was  not 
"human."  He  took  the  iron  from  the  fire, 
white  from  the  heat.  But  that  isn't  all!  While 
he  was  pounding  it  he  actually  touched  the 
white  part  and  didn't  even  show  a  sign  of  being 
burned.  For  another  thing  in  the  same  picture 
I  noticed  Betsy  Ann  Ross  in  an  evening  gown, 
while  Quincy  Adams  Sawyer  had  just  come  in 
from  the  sunlight  of  the  afternoon.  He  was 
wearing  white  flannels  and  a  heavy  white 
sweater. 

Just  one  of  those  "fans," 

Glenns  Falls,  N.  Y. 

QUICK  WORK  ON  A  RACING  CAR 

E" Racing  Hearts,"  with  Agnes  Ayres,  the 
mechanics  are  working  on  the  framework  of 
the  car,  which  is  yet  a  mere  skeleton,  when  the 
girl  gets  a  cable  from  her  father  that  he  is 
leaving  Europe  on  a  fast  steamer.  He  arrives 
in  a  few  days,  but  lo !  the  car  is  assembled  and 
ready  for  a  gruelling  race  in  such  a  short  time 
that  it  would  allow  for  no  tests  or  tryout  what- 
ever. I  wouldn't  care  to  drive  that  car  in  a 
race  and  the  realism  of  the  play  was  completely 
spoiled. 

Clifford  E.  Hicks,  Stittville,  N.  Y. 

A  MOVING  MESSAGE 
TN  Charles  Ray's  picture,  "The  Girl  I  Loved," 
*-Mary  slips  a  note  under  her  lover's  napkin, 
which  is  at  the  head  of  the  table.  When  she 
leaves  the  room,  John  goes  over  to  the  table, 
picks  up  the  napkin  to  the  right  of  the  one 
under  which  Mary  had  just  put  the  note,  and 
evidently  her  little  message  had  moved,  for 
there  it  was! 

Alice  Bundlie,  Grand  Forks  N.  D. 


CAPPING  THE  CLIMAX 
TN  "The  Ninety  and  Nine"  Tom  Sihcrton  is 
^■struck  in  the  back  of  the  head  with  a  brick 
thrown  by  Bud  Bryson,  he  falls  and  his  cap 
falls  from  his  head.  Ruth  Blake  runs  across  the 
stepping  stones  in  a  little  brook,  helps  him  up 
and  leads  him  away — the  cap  still  lying  on  the 
ground.  He  is  taken  to  her  home  and  his 
wound  dressed.  When  he  starts  to  leave  he 
picks  up  his  cap  from  the  table,  putsil  on  and 
goes  out. 

E.  T.  A.,  Newark,  N.  J. 

MA  YBE  HE  WASN'T  SELF-RESPECTING 
TN  "The  Voice  From  The  Minaret,"  showing 
-Mhe  ceremony  at  which  Eugene  O'Brien  is  to 
be  inducted  as  rector  of  a  London  church,  the 
Bishop  is  gowned  as  I  have  never  yet  seen  a 
Bi>hop  gowned  in  any  English  church.  The 
Episcopal  ring  is  very  much  in  evidence,  but 
where  are  the  voluminous  "bishop  sleeves" 
drawn  into  a  small  cuff  at  the  wrist  and  where 
is  the  sleeveless  sort  of  cloak  they  also  wear? 
No  self-respecting  Anglican  Bishop  would 
appear  in  any  church  in  a  plain  ordinary  sur- 
plice such  as  any  lowly  curate  might  wear.  For 
all  I  know,  they  may  do  so  in  the  U.  S.  A.,  but 
not  in  London  where  the  scene  is  laid.  Don't 
for  pity's  sake,  take  the  very  sleeves  off  our 
Bishops! 

M.  F.,  Hamilton,  Canada. 

BUT  HE  WALKED  WITH  A  LIMP 
TN  Douglas  Fairbanks'  latest  picture,  "Robin 
-*-Hood,"  he  was  hit  on  the  head  with  an  iron 
hook  which  must  have  weighed  about  fifteen  to 
twenty  pounds.  Immediately  after  he  rises 
and  acts  as  though  nothing  unusual  had  hap 
pened. 

Fred  Dittrich,  Clifton,  N.  J 

SHE  DIDN'T  KNOW  THE  SECRET 
TN  "When  Knighthood  Was  in  Flower,"  there 
-Ms,  you  remember,  a  scene  in  which  .1/i7m 
Tudor  is  kept  a  prisoner  in  her  own  apartment 
for  two  days.  She  was  always  looking  for 
means  of  escape  but  why  didn't  she  try  gointr 
through  the  secret  door  though  which  Brandon 
always  came? 

Berye  M.  Hosley,.  Rochester,  N.  Y. 

11771"  DRAG  IN  GEOGRAPHY? 
T  THINK  anyone  who  has  reached  fourth- 
-*-  grade  geography  will  realize  that  there  are 
no  mountains  in  the  Mississippi  Valley.  Yet  in 
"The  Sin  Flood"  the  Mississippi  was  shown 
tearing  down  a  deep  valley  between  giant  hills. 
It  was  a  good  flood  picture,  but  it  seems  to  me 
it  looked  more  like  the  breaking  of  a  dam  than 
the  breaking  of  levees  along  the  flat  Mississippi 
country. 

Molly  Brown,  Wayne,  Penna. 

ANOTHER  PICTURE  SCANDAL! 

IN  "Has  the  World  Gone  Mad?"  they  tell  us 
that  Hedda  Hopper,  the  mother,  has  had  her 
face  "lifted,"  etc.,  etc.,  "the  symbol  of  twenty- 
one  years  of  motherhood."  Later,  her  hus- 
band is  seen  reading  one  of  their  old  sweetheart 
letters.  The  contents  of  this  letter  show  that 
they  were  not  married  at  the  time.  The  letter 
is  dated  August,  1903!  Was  not  married 
twenty  years  ago,  but  has  a  son  twenty-one 
years  old! 

E.  V.  S.,  Johnson  City,  Tenn. 


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Photoplay  Magazine — Advertising  Section 


c;Star  Stuff" 

[  CONTINUED  FROM  PAGE  65  ] 

"All  right,  have  it  your  own  way.  I  was  just 
telling  you." 

"What  girl  is  it,  then?" 

"Oh,  I  don't  know  exactly.  But  I've  seen 
him  with  one  of  those  little  blonde  'bathing 
girls'  from  his  company.  Probably  that's  the 
one." 

"Is  she  pretty — and  nice?" 

"Pretty;  yes.    Don't  know  about  the  rest." 

"Well,  she's  nice  if  Jimmy  likes  her — really 
likes  her." 

"Oh,  no  doubt.  But  you  mustn't  ever  ask 
Jimmy  about  her.  He's  got  his  own  life  to 
live." 

"Yes,  I  know,  but  he  might  have  told  me 
about  her,  and  he  needn't  stay  away  all  the 
time  just  because  of  her.  I'm  lonesome.  He 
was  all  I  had." 

"All  you  had !   What  are  you  talking  about? ' ' 

"Well — he  was  the  only  one  that  thought  of 
me  as — just  me.  It  would  have  been  all  the 
same  to  Jimmy  if  I  had  been  a  shabby  little 
extra  girl  on  the  'lot.'  " 

"But  you  are  not  a  shabby  little  extra  girl 
on  the 'lot.'  You  are  somebody.  You're  going 
to  be  a  star.  Don't  forget  that.  And  you've 
got  to  make  some  sacrifices.  Look  at  Sam  and 
me;  how  hard  we  are  working  for  you.  We 
don't  have  many  friends  nor  much  pleasure." 

"But  you're  both  old — and  don't  care." 

"Yes,  we're  old,  so  we  can  look  back  and  see 
how  we  made  our  mistakes  when  we  were 
young.  Be  patient  a  little  longer,  honey,  and 
leave  everything  to  mamma.  Someday  you 
can  have  everything  you  want;  a'l  the  good 
times;  all  the  friends — everything." 

"You  always  say  that.  I  think  you've  for- 
gotten all  about  being  young — except  the 
mistakes!" 

"And  by  remembering  them  I  can  keep  you 
from  having  any  to  remember  when  you  are 
old  like  me." 

"And  I  suppose  liking  Jimmy  would  be  a 
mistake?" 

"It  might  be.  He'll  never  be  anything  but  a 
slap-stick  comedian  who  does  face-falls  to  make 
the  low-brows  laugh — he  says  so  himself — but 
you  are  going  to  be  something  very  different." 

"But  you  never  did  anything  but  small-time 
and  burlesque." 

"Yes — you  can't  help  having  a  mother  of 
that  kind,  but  you  can  keep  from  having  that 
kind  of  friends." 

Nita  sniffed  dolefully:  "Now  you  start 
abusing  yourself  to  make  me  feel  ashamed  of 
what  I  said.  Darn  it!  Jimmy's  gone;  my 
canary's  dead,  and  you  are  always  cross — 
everything's  wrong!" 

SOME  kisses,  a  few  tears,  and  a  little  petting 
closed  that  episode,  but  it  worried  Nancy, 
nevertheless.     The  knowledge   that  she  had 
been  compelled  to  resort  to  unfair  tactics  to 
keep  the  girl  under  complete  control  shook  her 
confidence.    She  confessed  as  much  to  Sam  the 
next  day  when  he  was  outlining  some  big  plans. 
"Looks  easy  to  you,  doesn't  it,  Sam?" 
"Sure.    Why  not?    We've  got  the  right  girl 
and   the   right   system.     The   whole   thing's 
working  fine.    All  the  big  producers  are  watch- 
ing her.     A  couple  more  pictures  like  'Faith' 
and  they'll  be  flocking  in  here  with  contracts." 
"But  suppose  something  happens  to  her; 
goes   stale;   loses  interest — or   anything   like 
that?" 

Old  Sam's  face  grew  long  at  the  thought. 

"We'd  have  to  begin  all  over  again — and  with 

second-hand  material.    If  she  lets  down  they'll 

see  it  in  a  minute,  and  not  a  one  of  them  will 

take  a  chance  on  starring  her — all  of  the  '  I  told 

you  so'  boys  will  be  out  with  their  hammers. 

But  what  made  you  ask  that?    She  isn't  letting 

down,  is  she?    I  hadn't  noticed  it  in  her  work." 

"No,  she  isn't  letting  down  in  her  work — " 

"What  are  you  worried  about  then?" 

"She's    getting    restless — feels    her    wings. 

Frets  because  she  is  cooped  up  all  the  time." 

"Take  her  out  a  little  more,  then.    Let  her 


-rJr. 


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mingle  with  the  mob;  let  'em  make  a  fuss  over 
her." 

"I  don't  dare.  I  was  that  way  myself  once 
and  I  know  what  the  'mob'  did  to  me.  And 
from  the  way  letters  and  telephone  calls  are 
coming  in  it  looks  like  the  whole  world  was 
after  her.  Worse  than  it  ever  was  in  my  day. 
If  I  let  'em  get  hold  of  her  they'll  give  her  a 
thousand  exciting  things  to  think  about — men, 
love,  society,  pleasure — everything  but  her 
work!" 

"I  see  .  .  .  Well,  that's  your  job,  and  you'll 
have  to  handle  it.  I've  got  all  I  can  do  at  the 
studio." 

"Oh,  I'll  do  my  best;  don't  worry.  I'll  lie 
and  fight  and  scheme;  but  I  get  so  tired  some- 
times. I'm  going  day  and  night:  manager, 
mother,  maid,  press  agent — some  job,  Sam!" 

A  ND  indeed  it  was  some  job.  For,  as  Nancy 
■**-had  said,  the  world  was  after  the  girl.  They 
loved  her,  but  in  their  mass  affection  they 
would  have  mauled  her  to  death.  The  girl 
didn't  appreciate  that,  however,  and  her 
resentment  at  being  shut  off  from  the  world 
she  had  won  grew  greater.  Finally,  as  a  small 
concession,  Nancy  swung  open  for  her  one 
small  window  onto  the  world — she  turned  over 
to  her  the  mass  of  mail  that  poured  in  from  the 
adoring  film  fans;  let  her  have  them  unopened 
and  uncensored  to  do  with  as  she  liked. 

Nita  was  delighted.  The  letters  were  won- 
derful "close-ups"  of  the  intriguing  outside 
world  whose  many  phases  of  life  had  always 
been  presented  to  her  in  the  "long  shots"  or 
"soft  focus"  of  carefully  selected  books  and 
plays.  She  treasured  them;  read  and  re-read 
them,  and  labored  conscientiously  over  her 
replies.  Some  time,  some  one  of  them  would 
more  than  repay  her  for  all  of  her  trouble. 
She  was  sure  of  that. 

Nancy,  noting  her  absorption  in  her  corre- 
spondence, felt  somewhat  easier.  The  novelty 
would  wear  off  of  that  adventure  in  time,  but 
for  the  present  it  would  keep  her  occupied 
during  her  idle  moments,  and  certainly  no 
harm  could  come  of  it  Nancy,  not  being  of  a 
"literary"  turn  of  mind,  did  not  realize,  you 
see,  just  how  disturbing  the  written  word  may 
be;  how  completely  it  may  annihilate  distance; 
how  intimate  and  warming  it  may  become. 

Thus  it  came  about  that  Stanhope,  poet, 
raconteur,  soldier  and  adventurer,  loitered  un- 
challenged beneath  Nita's  window  and  smote 
his  trembling  lyre. 

His  first  letter  came  to  her  at  the  studio:  a 
thin,  typed  envelope  that  didn't  look  in  the 
least  interesting.  She  opened  it  indifferently 
.  .  .  probably  a  "knock"  from  some  would-be 
critic;  or  a  disguised  "ad"  .  .  . 

Greenwood,  Indiana, 
January  2,  191 7. 
My  Dear  Miss  Knowles: 

May  a  lonely  invalid  in  a  strange  land 
thank  you — and  your  little  play  "Faith" 
— for  one  perfect  hour  in  an  atmosphere  of 
peace  and  beauty  and  love;  and  may  he 
further  thank  you  for  a  vision  of  the  most 
beautiful  young  woman  he  has  ever  seen 
on  a  cinema  screen? 

In  a  bit  of  poetry  written  while  at  the 
front  in  Flanders  I  tried  to  tell  how  our 
troubled  hearts  turned  back  to  scenes  of 
beauty  and  peace  and  love.  I  enclose  a 
clipping  of  that  poem,  trusting  that  it  may 
serve  to  vouch  for  the  very  sincere  senti- 
ments of, 

Yours  truly, 

Franklin  Stanhope. 
P.S. — You  will  pardon  me  for  writing  a 
letter  of  this  character  on  the  typewriter, 
won't  you?     You  see,  my  right  arm  is 
"somewhere  in  France."  F.  S. 

When  Nita  finished  the  letter,  she  sighed 
with  ecstasy;  sat  for  a  moment  in  dreamy 
thought,  then  picked  up  the  clipping  with  rev- 
erent fingers.  It  was,  she  found,  from  a  maga- 
zine that  was  not  in  the  habit  of  publishing 
anything  of  doubtful  literary  merit,  and  duly 
credited  to  one  Franklin  Stanhope.  Nita 
wasn't  exactly  a  connoisseur  of  poetry,  but  that 


little  poem  "registered."    In  fact,  I  don't  think 
Ann  Hathaway  ever  responded  to  any  of  Will 
Shakespeare's   efforts   as   Nita    responded   to  > 
Stanhope's  sad  little  song  of  longing  and  loneli-  i 
ness.     He  sang  straight  into  her  heart — for,  | 
wasn't  she  lonely,  too? 

Of  course,  Nita  never  told  her  mother  about 
that  letter,  nor  about  any  of  the  others  that 
followed.    It  wasn't  the  kind  of  a  secret  you  | 
could  entrust  to  a  person  like  Nancy.     She 
wouldn't  understand.    She  probably  had  never  I 
known  anyone  like  Stanhope,  for  her  world  had   \ 
been  hard  and  coarse;  besides  she  lacked  senti-   1 
ment  and  imagination  as  all  older  people  do. 

Sometimes,  though,  the  wonderful  joy  of  the 
adventure  was  almost  too  much  for  one  small 
girl  to  keep  all  alone.  Such  perfect  under- 
standing! Such  beautiful  sentiment  and 
thought!  Little  by  little  he  grew  in  her  imagi- 
nation and  heart  until  each  letter  summoned  up 
a  shadowy  presence  of  someone  tall  and  brave 
and  handsome — sad  and  suffering,  perhaps, 
but  gentle  and  kind  alway.  And  why  not? 
The  great  war  in  Europe  had  called  the  high 
hearts  and  poet  souls  from  every  land.  There 
was  Seeger  and  Brookes  and  Kilmer — oh,  so 
many  of  them!  Why  might  not  this  be  one  of 
them,  too? 

***** 

A  LONG  in  March  the  end  of  the  Beaux  Arts 
-**-contract  drew  in  sight,  and  Nita  had  one 
more  picture  to  do — a  "big"  picture.  Into  it 
old  Sam  proposed  to  put  everything  at  his  com- 
mand, and  of  the  girl  he  expected  to  demand 
more  than  he  had  ever  dared  demand  before. 
It  was  to  be  the  grand  finale  of  her  career  with 
the  Beaux  Arts  and  her  bid  for  stellar  honors 
with  greater  companies.  Everything  depended 
on  the  success  of  that  last  picture,  and  the  suc- 
cess of  the  picture  depended  on  the  girl.  Sam 
and  Nancy  spent  a  great  deal  of  time  and 
thought  over  the  undertaking,  for  with  it  they 
rose  or  fell.  Nita,  they  agreed,  must  be  at  very 
best. 

"For  God's  sake,"  Sam  adjured,  "keep  her 
up  on  her  toes  from  start  to  finish,  and  don't  let 
her  get  sick.  Knock  wood;  pray — do  any- 
thing!" 

Nancy,  who  had  been  well  satisfied  with  the 
girl's  dreamy  content  the  past  few  weeks,  felt 
very  confident. 

"Leave  it  to  me.  She'll  eat,  drink,  dream 
and  sleep  that  picture  from  the  first  rehearsal 
to  the  last '  cut' !  " 

"No  parties;  no  foolishness — no  nothing. 
Just  her  part  in  the  picture." 

"The  picture,  and  nothing  but  the  picture! 
— then  my  girl  a  star!  Think  of  it,  Sam.  Why, 
I  couldn't — just  couldn't — let  her  fail  now!" 

"All  right,  it's  all  in  your  hands.  If  she's 
right,  everything's  right." 

"All  in  my  hands,  Sam — and  if  she  fails  I'll 
take  all  the  blame.  You've  done  your  part." 
And  it  was  on  that  propitious  day  that 
Nancy  discovered  the  enemy  within  her  guard! 
Digging  in  the  girl's  wardrobe,  inventorying 
costumes  for  the  forthcoming  picture,  she 
found  the  cherished  package  of  letters  from 
Stanhope,  and  with  a  fine  disregard  for  the 
ethics  of  the  thing,  read  them  through. 

There  was  nothing  soft  or  sentimental  about 
Nancy,  but  she  had  been  young  once  and  hadn't 
forgotten  it;  therefore  she  didn't  need  any 
psychologist  to  tell  her  just  how  destructive 
those  letters  would  be  to  a  girl  like  Nita.  For 
awhile  she  was  "floored."  What  could  she  do? 
Have  it  "out"  with  Nita?  Never!  The  girl 
wouldn't  recover  from  the  battle  for  weeks. 
Tell  Sam  and  ask  his  help?  No;  he  would  blow 
up  and  "spill  the  beans" — besides  he  would 
bawl  her  out  unmercifully.  What  then? 
Something  had  to  be  done. 

Hours  wpre  precious,  but  it  took  her  a  whole 
day  to  "dope  out"  an  acceptable  plan  and  find 
a  suitable  ally.  Then  she  reverted  to  habit 
and  called  Jimmy  in. 

"Jimmy,"  she  blurted  out,  "Nita's  in 
trouble,  and  I  want  your  help!" 

It  had  been  her  intention  to  spring  it  on  him 
in  a  way  that  would  enlist  his  whole  sym- 
pathy, but  when  she  saw  how  white  he  got,  she 
felt  ashamed. 


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"Or,  that  is,"  she  amended,  "she's  done 
something  foolish;  something  that  may  inter- 
fere with  her  work,  and  I  want  you  to  help  me 
fix  it  up  without  her  knowing  anything  about 
it." 

The  color  came  back  in  his  face  at  that,  but 
he  didn't  look  very  happy: 

"  Suppose  you  tell  me  about  it — just  as  it  is," 
he  suggested. 

Nancy  had  her  story  well  rehearsed  and  she 
got  it  over  in  good  style,  but  when  she  pro- 
duced the  letters  to  prove  how  serious  the 
affair  was  and  how  far  it  had  progressed,  he  re- 
fused to  touch  them. 

"I'll  take  your  word  for  what's  in  them,  but 
I  don't  want  to  read  them.  They're  her  letters 
and  she  didn't  want  anybody  to  see  them. 
That's  enough  for  me." 

"Why,  Jimmy!"  she  exclaimed,  "you're  not 
sore  at  me  for  reading  them,  are  you?"  . 

"  Oh,  no.  That's  your  privilege,  I  suppose — 
but  go  on;  what  is  it  that  you  want  me  to  do?  " 

"Just  this:  go  back  to  Greenwood  where  this 
four-flusher  stays  and  get  the  'goods'  on  him. 
When  you've  done  that  I'll  finish  the  job." 

"But  suppose  there  are  no  'goods'  on  him — 
like  you  mean?" 

"Don't  worry  about  that.  No  man  that's 
what  he  claims  to  be — an  Englishman,  a  poet, 
a  soldier,  a  gentleman — would  be  buried  away 
in  a  tank  town  in  Indiana.    You  know  that." 

"And—" 

"And  if  he'll  lie  about  that  much  of  it,  he'll 
lie  about  all  of  it,  won't  he?" 

"Possibly." 

"  I  know  he  will — and  has !  Nita's  just  a  kid . 
with  her  head  full  of  romantic  dreams,  and  this 
fellow  has  fooled  her  completely.  We  can't  let 
her  go  on  with  this  thing,  but  we've  got  to  be 
mighty  careful  how  we  put  a  stop  to  it." 

"Do  you  think  she  loves  this  man?" 

"Not  in  the  way  you  mean.  But  she  prob- 
ably thinks  she  does.  If  we  fight  him  she'll 
fight  for  him,  and  it's  easy  to  really  love  some- 
thing you've  fought  for  .  .  .  Oh,  Jimmy!  If  I 
can  only  hold  her — all  of  her — for  a  little  while 
longer!  I'll  put  her  so  far  up  in  the  world  that 
her  pride  will  never  let  her  come  down;  never 
let  her  make  the  mistakes  I  made!  You'll  help 
me  do  that,  won't  you — for  her  sake?" 

"And  the  higher  she  goes,  the  farther  she  will 
get  away  from  you  and  me — " 

"Yes.  But  we  won't  care.  We  love  her, 
don't  we?    And  it's  all  for  her." 

"Yes,  that's  it — we  love  her.  But  it's  lucky 
there's  nobody  else  to  love  her  the  way  we  do. 
If  there  were  she  wouldn't  have  much  chance 
for  happiness — but  never  mind  that,"  he  broke 
off,  "I  broke  the  rules  of  the  game  once;  I 
won't  do  it  again.    I'll  start  east  tonight." 

GREENWOOD,  Indiana,  proved  to  be  just 
the  kind  of  Corn  Belt  town  that  Jimmy  had 
expected  it  to  be,  but  he  was  somewhat 
shocked  to  see  what  an  unprepossessing  place 
Stanhope's  lodgings  were:  a  shabby,  unpainted 
old  wooden  house,  bearing  an  illy-lettered  sign. 
"Board  and  Rooms,"  it  was  an  offense  to 
Jimmy's  California  cultured  senses. 

"I  say,"  he  demanded  of  the  "taxi"  driver 
who  had  taken  him  there,  "are  you  sure  this 
is  the  place?" 

"Look  at  the  number  over  the  door,"  sug- 
gested the  driver,  "figgers  don't  lie." 

There  was  logic  in  that,  so  Jimmy  plowed 
across  the  muddy  "lawn,"  and  inspected  the 
weather-beaten  numbers  over  the  door. 
Finding  that  the  driver  had  been  right,  he 
twisted  the  old-fashioned  door  bell  vigorously. 
After  a  little  interval  the  door  opened  slowly, 
and  a  shabby,  frowsy  little  man  of  late  middle- 
age  peered  out  at  him. 

"Does  Mister  Franklin  Stanhope  live  here?" 
asked  Jimmy. 

The  little  man  looked  him  over  suspiciously 
and  glanced  out  at  the  waiting  "  taxi." 

"Er— yes." 

"May  I  speak  to  him  a  moment?" 

The  little  man  seemed  undecided:  "Busi- 
ness?"    he  asked. 

"Not  exactly.     A  personal  matter,  rather." 

"You  knew  Mister  Stanhope?" 


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Photoplay  Magazine — Advertising  Section 


Under  the  Arm! 

— the  one  spot  which  soap  and  water 
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"No,  but  I've  heard  a  great  deal  about  him 
— through  a  friend  in  Los  Angeles." 

"//;  Los  Angeles?"  exclaimed  the  other. 
"  What  did  you  say  your  name  was?" 

"I  didn't  say,  but  it's  Mahoney — James 
Mahoney?" 

"And  Mister  Stanhope  didn't  know  you?" 

"No,  but  if  you'll  tell  him  that  a  friend  of 
Miss  Knowles — Nita  Knowles — is  here,  I 
think  he  will  be  glad  to  see  me." 

The  little  man  gulped  and  looked  frightened. 

"Well,  how  about  it?"  asked  Jimmy, 
somewhat  annoyed  by  the  other's  peculiar 
actions. 

"Oh,  dear,"  sighed  the  other  with  a  woe- 
begone expression,  "I'm  sorry  but  you  have 
come  too  late  to  see  Mister  Stanhope." 

"Too  late!     What  do  you  mean?" 

"Mister  Stanhope  is  dead,  sir." 

"Dead!  Good  Heavens!  When  did  that 
happen?" 

"Er — a  week  ago;  a  week  ago  yesterday. 
He  was  an  invalid  you  know."  And  the  little 
man's  eyes  showed  traces  of  tears. 

"Gee!"  said  Jimmy,  "that's  too  darned 
1  ad,  isn't  it?  I'm  awfully  sorry."  And  he 
really  was,  somehow. 

"Yes,  it  is  sad.  Rut  as  our  French  friends 
say:  'C'cst  la  guerre!'  " 

"Yes,  that's  the  way  of  war.  Sorry  I 
didn't  come  sooner.  There's  nothing  I  can  do, 
is  there — that  is;  he  had  friends,  and  all  that?" 

"Oh,  yes.  Everything  has  been  taken  care 
of  quite  as  he  would  have  wished." 

"Well,  then,  guess  I'll  be  going  back. 
Sorry  to  have  troubled  you." 

"Oh,  that  is  quite  all  right.  I  only  regret 
that  you  couldn't  have  seen  Mister  Stanhope. 
Goodbye  "  And  with  a  meek  little  bow,  he 
closed  the  door,  and  Jimmy  heard  him  shuffling 
off  down  the  hall. 

"Hi,  there!"  called  a  young  man  who  was 
hurrying  across  the  yard,  "Why  didn't  you 
hold  him  a  minute  longer?" 

"Hold  him?  asked  Jimmy  as  the  youth 
came  up,  "what  do  you  mean?" 

"Why,  hold  old  'Prof  Stanhope.  I've  got 
a  bill  here  that  I've  been  trying  to  collect  and 
he  hides  every  time  he  sees  me  coming." 

"  'Prof  Stanhope?"  exclaimed  Jimmy, 
"Who  is  'Prof  Stanhope?" 

"The  old  geezer  you  were  talking  to.  Pro- 
fessor Stanhope,  professor  of  language  and 
literature  in  Greenwood's  famous  college." 

"Oh.     That's  who  it  was,  eh?" 

"Yep.  That's  him.  Worst  old  liar  and 
deadbeat  in  town.  Kinda  'cracked,'  I  guess. 
Writes  poetry — and  all  such  foolishness." 

"Say!  Did  he  have  a  brother — or  any 
relative — that  died  a  week  ago?" 

"Naw,  he  ain't  got  any  folks  but  an  old 
maid  daughter." 

"You're  sure  that  no  one  staying  here — an 
Englishman,  maybe — died  recently?" 

"Absotively.  What's  the  old  geezer  been 
doing — stringing  you?" 

"It  sure  looks  like  it.     It  sure  does — !" 

Y\  THEN  Jimmy  got  back  to  Los  Angeles  he 
W  immediately  set  out  for  Hollywood  to 
make  his  remarkable  report. 

Nancy  wasn't  in,  but  Nita  was  there. 

"I'll  come  back  later,"  said  Jimmy.  "Got 
a  little  business  matter  to  talk  over  with  your 
mother." 

"All  right,"  said  Nita  frostily,  "but  you 
needn't  hurry  away.  There's  a  little  matter 
I'd  like  to  talk  over  with  you." 

There  was  something  threatening  in  her 
tone  and  manner  and  Jimmy  began  to  make 
excuses. 

"Never  mind  that,"  she  said.  "I  know  you 
have  been  back  east  and  ju.^t  got  in,  but  you 
can  spare  a  few  minutes." 

"All  right,  then,"  said  Jimmy  with  assumed 
carelessness,  "fire  away." 

"How did  you  like  your  trip?" 

"Oh.  so-so      Rotten  weather  back  east." 

"What  did  you  find  out  at  Greenwood?" 

"What's  that?"  yelped  Jimmy. 

"I  said:  'What  did  you  find  out  at  Green- 
wood?' " 


"  Why— what— how— ?  " 

"Oh,  mamma  'spilled  the  beans,'  as  she 
says.  I  know  all  about  it.  Fine,  gentlemanly 
thing  you  did!" 

"But,  Nita! — you  don't  understand — " 

"Oh,  yes,  I  do.  I  got  it  all  from  her.  Now 
I  suppose  you  are  going  to  sit  there  and  tell 
me  what  a  fool  I've  been;  tell  me  how  I've 
been  deceived?" 

Jimmy  squirmed  in  his  chair:  "Er — no; 
not  exactly.     Fact  is,  I  didn't  see  him." 

"Didn't  see  him?     Why,  how  was  that?" 

"Well— er— I  hate  to  tell  you,  Nita,  but 
-but  he's  dead." 

"Dead?    Oh,  no!    When  did  he  die?" 

"  A  week  Lefore  I  got  there." 

"A  week  before  you  got  there — !  What 
day  were  you  there?" 

"Let's  see — Tuesday,  the  17th." 

"Tuesday,  the  17th?" 

"Yes;  only  one  day." 

CHE  regarded  him  a  moment  quite  thought- 
^-Mully,  then  fished  in  her  bodice  and  drew 
out  a  letter. 

"Here,  Jimmy,"  she  said,  "is  the  last  letter  I 
got  from  him  It's  dated  and  postmarked 
the  1 6th." 

Jimmy  made  no  reply,  but  he  looked 
sweaty  and  miserable. 

"Somebody  has  lied,  don't  you  think, 
Jimmy?" 

"Looks  like  it,"  he  agreed. 

"And  who  should  I  believe?" 

"I — er — I  don't  know." 

"Suppose  I  believe  that  both  of  you  have 
lied — about  a  number  of  things?" 

"That  might  be  nearer  it,"  he  admitted 
hesitatingly. 

"And  why  did  you  lie  about  it?" 

"I — I'd  rather  not  say." 

"Want  me  to  guess?" 

"If  you  think  you  know." 

"Well — it's  just  a  guess,  but  I  think  you 
found  out  something  back  there  that  wouldn't 
be  nice  to  tell  me;  something  you  thought 
would  hurt  me,  maybe.     Was  that  it?" 

She  waited. 

"Something  like  that." 

Both  were  silent  for  a  moment. 

"That  was  a  beautiful  'white  lie,'  Jimmy," 
she  said  softly, — "beautiful." 

He  made  no  reply  to  this,  but  sat  with 
bowed  head. 

"Jimmy!"  she  exclaimed  suddenly,  tears 
shining  in  her  eyes,  "You've  come  back  to 
me — just  as  good  and  clean  as  you  always 
were,  and  much  finer  than  I  knew  you  could 
be.  Why,  Jimmy! — he  never  could  have 
done  a  finer  thing  than  you  have  done — with 
one  little 'white  lie'!" 

"I  didn't  do  it  because  I'm  fine,"  he  said 
slowly,  "I  did  it  because — because  you're  fine 
and  I  want  you  to  stay  that  way — and  you 
can't  if  all  your  dreams  are  spoiled." 

"You  weren't  afraid  then  that  something 
like  this  might  spoil  my  work?" 

"No.  I  don't  care  about  your  work — any 
more.  I  wish  you  were  just  like  you  were 
when  you  came  up  from  New  Orleans." 

"Honest,  Jimmy?" 

"Honest!" 

"Jimmy,  we  all  have  blind  spots  in  our  eyes, 
but  we  don't  1  eed  to  have  them  in  our  hearts, 
need  we?" 

"I  don't  know.  Maybe  we  have  to  pretend 
we  have." 

"And  you  have  been  pretending,  Jimmy?" 

"Kinda." 

"Jimmy!" 

"Yes?" 

"Do  you  remember  when  I  came  here  from 
New  Oceans  and  you  met  us  at  the  station? 
Remember  how  you  bent  down  for  a  'little 
sister'  kiss  on  your  cheek?" 

"Yes.     I  remember." 

"And  how  mamma  laughed  at  us  for  being 
so  awkward  and  bashful?" 

"Yes." 

"Well,  Jimmy.     Watch  me  now — see  what 

I've  learned  in  the  movies! Oh, 

Jimmy!    You  don't  care  if  I  cry,  do  you?" 


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Photoplay  Magazine — Advertising  Section 


ioi 


The  Shadow  Stage 

[  CONTINUED  FROM  PAGE  7 1  ] 

THE  AFFAIRS  OF  LADY  HAMILTON 
— Hodkinson 

rpHE  German  producer  takes  a  mean  delight 
*■  in  the  portrayal  of  historical  English  indis- 
cretions. This  time  the  victim  is  Lady 
Hamilton,  who  had  as  many  affairs  as  she  had 
gowns.  The  poor  lady  comes  to  a  bad  finish — 
but  her  road  of  life  is  not  a  monotonous  one, 
and  that's  something!  The  German  idea  of  an 
intrigue  is  slightly  heavy — as  are  the  German 
heroines.    Not  for  children. 

DEAD  GAME— Universal 

X_TOOT  GIBSON  does  some  hard  riding  and 
■*■  ■'■some  quick  thinking,  in  this  picture.  For 
there  are  two  husky  villains  and  a  whole  flock 
of  confederates  to  be  foiled — and  all  in  six 
reels,  too.  But  Hoot  outguesses  the  outlaws, 
and  gets  the  girl  and  even  manages  to  escape 
from  a  trackless,  and  waterless,  desert.  Not  an 
unusual  western,  but  a  good  one! 

THE  PRODIGAL  SON— Stoll Film  Corp 

HpHIS  picture  is  so  steeped  in  gloom  that, 
■*■  after  a  few  reels  of  it,  the  sunlight  seems 
green  and  the  birds  don't  sing  pretty.  Church- 
yards, and  death-beds;  lost  loves  and  debts  and 
bitterness  chase  each  other  through  the  heavy 
shadows.  Hall  Caine  may  have  written  it,  and 
all  that — but  it  needs  something  to  make  it 
bearable.  There  are  some  splendid  flashes  of 
acting — but  they  are  only  flashes. 

SOUL  OF  THE  BEAST— Metro 

A  LITTLE  abused  Cinderella  of  the  circus 
■*»■  runs  away  with  an  elephant.  They  romp 
off,  together,  into  the  depths  of  the  Canadian 
forest,  and  have  ever  so  many  adventures! 
Finally  they  become  separated,  and  the  girl  is 
again  reduced  to  the  estate  of  a  little  drudge  in 
a  cheap  tavern.  But  love  enters  the  scene  and 
all  ends  well.  Even  the  elephant  is  in  the  final 
happy  fade-out. 

WHAT  WIVES  WANT— Universal 

A  NY  director,  with  sense,  would  murmur 
■**-"Who  knows?" — and  let  it  go  at  that! 
But  this  must  needs  follow  the  beaten  track  of 
elaborate  parties,  and  another  man,  and  what- 
not until  the  brain  reels!  With  a  final,  not 
very  original  realization,  by  the  husband  in  the 
case,  that  all  business  and  no  love  will  wreck 
any  marriage.  There's  a  self-sacrificing  sister, 
too. 

TRAILING  AFRICAN  WILD  ANIMALS 
— Metro 

HpHIS  picture,  made  by  the  Martin  Johnsons, 
■*■  is  the  best  of  its  kind.  Probably  because 
fewer  animals  are  slaughtered  to  make  a  movie 
holiday.  In  fact,  the  only  animals  killed  are 
the  ones  that  run  amuck — and  were  quite  ob- 
viously put  out  of  the  way  in  self  defense.  The 
best  animal  close-ups  ever  made,  and  some 
tremendous  thrills.  Terry  Ramsaye's  titles 
are  a  feature  of  the  picture. 

THE  CRITICAL  AGE— Hodkinson 

A  NOTHER  of  Ralph  Connor's  Glengarry 
•*»-stories — and  slightly  better  than  the  last 
one  that  was  picturized.  The  story  is  well  told, 
but  the  force  of  the  book  is  entirely  lost,  as  is 
the  spiritual  element  that  was  such  a  feature  of 
all  Connor's  work.  The  characterization  is 
overdrawn,  in  spots,  but  the  little  mad-cap 
heroine  is  charming. 

TEMPTATION— C.  B.  C'Film  Sales 

"FNEALING  with  the  hard-to-believe  fact  that 
-'—'the  possessors  of  great  wealth  are  seldom 
happy — and  that  the  gift  of  gold  is  a  hard  one 
to  bear.  The  picture  is  original  in  that  the 
young  couple,  struggling  to  be  contented  de- 
spite the  weight  of  their  several  millions,  do  not 
lose  the  bankroll  and  retire  to  love  in  a  cottage 
in  the  last  reel. 


Your  Hidden  Beauty 

Remove  the  film  and  see  it 


Millions  have  revealed  a  hidden  beauty 
through  a  new  way  of  teeth  cleaning. 
They  have  gained  a  new  charm  in  whiter 
teeth — often  a  supreme  charm. 

The  method  is  at  your  command.  The 
test  is  free.  For  beauty's  sake  and  safety's 
sake,   see  what  such  teeth  mean   to  you. 

Teeth  are  coated 

Teeth  are  coated  with  a  viscous  film. 
You  can  feel  it  now.  It  clings  to  teeth, 
enters  crevices  and  stays.  Food  stains, 
etc.,  discolor  it.  Then  it  forms  dingy 
coats.     Tartar  is  based  on  film. 

Old  brushing  meth- 
ods left  much  of  that 
film  intact.  So  beauti- 
ful teeth  were  seen  less 
often  than  now.  Tooth 
troubles  became  almost 
universal,  for  film  is  the 
cause  of  most. 


Avoid  Harmful  Grit 

Pepsodent  curdles  the  film  and  re- 
moves it  without  harmful  scouring. 
Its  polishing  agent  is  far  softer 
than  enamel.  Never  use  a  film  com- 
batant which  contains  harsh  grit. 


Film  holds  food  substance  which  fer- 
ments and  forms  acids.  It  holds  the  acids 
in  contact  with  the  teeth  to  cause  decay. 
Germs  breed  by  millions  in  it.  They,  with 
tartar,  are  the  chief  cause  of  pyorrhea. 

Dentists  alarmed 

The  increase  in  tooth  troubles  became 
alarming.  So  dental  science  searched  for 
ways  to  fight  that  film.  Two  ways  were 
found.  One  acts  to  curdle  film,  one  to 
remove  it,  and  without  any  harmful 
scouring. 


Able  authorities  proved  these  methods 
effective.  Then  a  new-type  tooth  paste 
was  created,  based  on  modern  research. 
Those  two  great  film  combatants  were 
embodied  in  it. 

The  name  of  that  tooth  paste  is  Pep- 
sodent.  It  is  now  advised  by  leading 
dentists  the  world  over.  In  some  fifty 
nations  careful  people  use  it. 

Five  new  effects 

Pepsodent  brings  five  results  which 
old  ways  never  brought.  One  is  to  mul- 
tiply the  alkalinity  of  the  saliva.  That 
is  there  to  neutralize  mouth  acids,  the 
cause  of  tooth  decay. 
One  is  to  multiply 
the  starch  digestant  in 
the  saliva.  That  is  there 
to  digest  starch  de- 
posits which  may 
otherwise  ferment  and 
form  acids. 
Thus  every  use  gives  manifold  power 
to  these  great  natural  tooth-protecting 
agents. 


Learn  what  this  new  way  means  to 
you  and  yours.  Send  the  coupon  for  a 
10-Day  Tube.  Note  how  clean  the  teeth 
feel  after  using.  Mark  the  absence  of 
the  viscous  film.  See  how  teeth  whiten 
as  the  film-coats  disappear. 

You  will  be  amazed  and  delighted,  and 
will  want  those  results  to  continue.  Cut 
out  the  coupon  now. 


The  New -Day  Dentifrice 

A   scientific   film  combatant,   which 
whitens,  cleans  and  protects  the  teeth 
without  the  use  of  harmful  grit.    Now 
advised  by  leading  dentists  the  world 
over. 

10-Day  Tube  Free  1146 

THE  PEPSODENT  COMPANY, 

Dept.  74,  1104  S.  Wabash  Ave.,  Chicago,  111. 

Mail    10-Day    Tube    of    Pepsodent    to 

Only  one  tube  to  a  family. 

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102 


Photoplay  Magazine — Advertising  Section 


Your  Facial  Habits 

When  you  laugh  or  cry,  or  express  any  emotion,  your 
facial  muscles  draw  the  skin  tense.  As  the  unuYrskin 
becomes  dry.  these  habits  fix  lines  in  your  face.  What 
are  you  doing  to  prevent  time  from  leaving  its  record? 

WRINKLES 

The  Tragedy  of  Youth! 

Just  between  yourself  and  your  frankest  hand-mirror, 
haven't  you  wrinkles?  Distressingly  deep  ones  or  mere 
threadlike  traceries,  they  mock  at  youth  and  beauty. 

It  is  only  now  with  the  discovery  of  a  marvelous  treat- 
ment—  Ero  Wrinkle  Remover — that  women  are 
able  to  defend  themselves  from  these  merciless  foes. 

Ego  Wrinkle  Remover  removes  wrinkles  by  softening 
the  skin,  feeding  the  starved  cells  and  giving  the  fi- 
brous tissue  the  necessary  strength  to  resist  the  form- 
ing of  other  wrinkles.  You  will  remove  the  lines  and 
prevent  the  formation  of  new  wrinkles,  if  you  use  Ego 
Wrinkle  Remover.  This  is  the  simple  way  in  which 
Ego  Wrinkle  Remover  succeeds  always  where  other 
methods  have  failed.  Sold  at  finer  department  stores  for 
$5  a  tube  or  direct  by  mail.    Its  results  are  priceless! 

If  you  have  any  questions  on  beauty,  write 

Grace  M.  Anderson,  V.  Vivaudou,  Inc. 
Dept.  107  469  Fifth  Avenue,  NEW  YORK 

Just  as  creases 
van'sh  when  a 
handkerchief 
is  dipped    in 

water, 
'wrinkles  dis- 
appear under 
the  effect  of 
Ego  Wrinkle 
Remover. 


9/ie  Cxclusioe 
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Ego  Bust  Beautilier 5.00 

Ego  Deodorant  Crcme  ....  1.00 
Ego  Perspiration  Regulator.  1.50 
Ego  Dandruff  Remover  and 

Hair  Beautilier 5.00 

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Ego  Sunburn 

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Ego  Ankle 

Cream 5.00 

Ego  Freckle 

Cream 7.50 

Ego  Skin  and 

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Ego  Hair  Curling  I7/  1 

Cream 3.00        »«~V/U 

Ego   Depilatory  5.00        IWRINKU 


Ego  Wrinkle 
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the  skin  perma- 
nently what  the 
window  Pa  tie 
does  to  the  hand~ 
kerchief. 


*■"    VIVAUDOU^ 


Grace  M.  Anderson,  V.  VIVAUDOU,  Inc. 
Dept.  107         469  Fifth  Avenue,  New  York 

ENCLOSED  find  15.00 — for  which  please  send  me  tube  of 
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prod  ucts.) 


FOOLS  AND  RICHES— Universal 

HpHE  handsome  hero  of  this  picture  proves 
■*■  the  old  adage  that  a  fool  and  his  money  are 
soon  parted.  When  his  father  dies  and  leaves 
him  practically  penniless,  he  finds  that  his  rich 
friends  have  deserted  him — and  he  is  forced  to 
shift  for  himself.  This  he  does  with  such 
efficiency  that,  in  the  last  reel,  he  has  a  new 
fortune,  and  a  grand  job  and  a  girl. 

DOUBLE  DEALING— Universal 
A  VERY  stupid  young  man  is  persuaded,  by 
■**■  a  professional  confidence  man,  to  buy  an 
apparently  worthless  bit  of  property.  Sud- 
denly, however,  the  property  assumes  great 
value — and  then  the  complications  set  in. 
Though  the  story  is  badly  told,  some  good 
work  is  done  by  the  Universal  stock  company. 
And,  in  the  end — though  there's  an  almost 
murder — everything  ends  happily. 

MADNESS  OF  YOUTH— Fox 

A  DRAMA  about  an  engaging  crook.  Pos- 
■*»■  ing  as  a  "holy  man"  he  enters  the  home 
of  a  rich  man  and  tries  to  rob  him  of  the  mil- 
lions he  keeps  in  a  safe  on  the  premises.  His 
victim's  daughter  discovers  him  at  the  safe  but 
wins  her  father's  forgiveness  and  consent  to 
their  marriage.  John  Gilbert's  sincere  por- 
trayal and  Billie  Dove  make  the  story  nearly 
plausible. 

CROSSED  WIRES— Universal 

A  GAY  little  Cinderella  story  with  a  dark 
■**■  border  of  melodrama.  Of  an  operator  of 
a  switchboard  who  longed  "to  go  into  society 
just  once"  and  contrived  it.  The  cauldron  of 
difficulties  in  which  Gladys  Walton  is  im- 
mersed stir  some  sympathy  and  considerable 
laughter. 

HER  FATAL  MILLIONS— Metro 

A  SWIFTLY  moving  comedy  built  upon  a 
girl's  fibs  to  a  suitor  whom  she  believes 
faithless.  When  he  returns  to  town  she  shows 
him  a  millionaire's  home  and  says  she  has  mar- 
ried the  millionaire.  Out  of  this  fabrication 
grows  an  inferno  of  amusing  complications. 
Viola  Dana  in  a  man's  ill-fitting  suit  supplies 
much  of  the  humor. 


THE  REMITTANCE  WOMAN— 
Film  Booking  Co. 

PTHEL  CLAYTON'S  loveliness  and  Achmed 
-'-'Abdullah's  knowledge  of  the  dim  and  mystic 
East  combine  in  a  tale  of  adventure.  The 
heroine's  father  sent  her  to  China  to  cure  her 
of  extravagance.  There  she  gains  a  sacred 
vase  and  nearly  loses  her  life.  Rockliffe  Fel- 
lowes  is  the  hero.  Tom  Wilson,  as  a  gigantic 
sailor,  stands  out. 

,42V  OLD  SWEETHEART  OF  MINE— 
Metro 

TAMES  WHITCOMB  RILEY'S  poem  has 
J  been  screened  with  considerable  charm  and 
numerous  touches  of  melodrama.  The  "old 
sweetheart"  begins  her  long  and  unwavering 
course  of  constancy  while  the  hero  is  kept 
after  school  and  she  waits  for  him  on  the  door- 
step. She  stands  by  him  even  when  an  attrac- 
tive worldling  woos  and  nearly  wins  him.  El- 
liott Dexter  is  the  boy  grown  up  and  Helen 
Jerome  Eddy  is  his  wife. 

STEPPING  FAST— Fox 

npOM  MIX  and  his  cowboy  hat  play  a  rush- 
•*-  ing  part.  Tom  "Mixes  up"  with  a  gang  of 
desperadoes  while  saving  a  gentle  archaeolo- 
gist's life.  The  same  gang,  having  later  accom- 
plished the  murder  of  the  archaeologist,  and 
frightened  Tom's  screen  mother  to  death,  be- 
comes the  object  of  the  hero's  vendetta.  He 
follows  the  leaders  to  China  and  rescues  the 
murdered  man's  daughter  from  death  in  a  cel- 
lar. There  is  another  "Mix  up"  of  tenderer 
nature. 

LOVEBOUND—Fox 

A  WELL  knit,  consistent  story,  built  cumu- 
■**•  latively  to  strong  climaxes.  A  district 
attorney  falls  in  love  with  his  secretary.  The 
girl's  father  is  a  jewel  thief.  The  conflict  be- 
tween her  loyalty  to  her  father  and  her  love 
for  the  man  whose  duty  it  is  to  prosecute 
criminals,  is  well  developed  by  George  Scar- 
borough, the  author,  who  was  once  a  Secret 
Service  man.  Shirley  Mason  draws  sympa- 
thetically the  character  of  the  heroine. 


Questions  and  Answers 

[continued  from  page  8i  ] 


L.  D.,  Havana,  III. — Pleased,  I'm  sure.  I 
will  follow  your  example  in  brevity.  But 
first  let  me  tell  you  a  little  story.  In  one  of 
the  quiet  spots  of  New  York — yes,  there  are 
a  few — there  is  a  well-clipped,  green  square. 
It  is  fenced  with  a  neat  iron  railing,  too  high  to 
climb  over  and  too  closely  wrought  to  climb 
through,  and  a  gate  keeper  tells  you  it  is 
private  property,  that  is,  open  only  to  residents 
in  the  square.  Though  a  magic  quarter 
caused  the  key  to  be  turned  in  the  lock  on  one 
of  the  visits  I  made  to  it.  Near  the  middle 
of  the  block  is  a  life  size  statue  in  gray  granite. 
The  gray  stone  figure  wears  the  graceful  garb 
and  the  melancholy  air  of  Hamlet.  It  is  a 
statue  to  Edwin  Booth.  Were  the  statue 
endowed  with  living  eyes  it  could  look  across 
the  intervening  green  space  to  a  stately  four 
story  gray  stone  house,  at  16  Gramercy 
Square.  The  statue  is  that  of  Edwin  Booth. 
The  stately  gray  stone  house  is  The  Players 
Club.  The  house  was  the  great  actor's  home. 
He  gave  it  to  his  fellow  actors,  reserving  a  few 
rooms  in  it  for  his  own  home.  In  a  small, 
high  room  at  the  front  from  which  he  could 
look  out  upon  the  green,  wooded,  fenced-in 
square  with  the  demure  children  of  the 
neighborhood  playing  there  under  the  watch- 
ful eyes  of  becapped  nurses  or  careful  govern- 
esses, Booth  spent  his  last  days.  With  a  book 
lying  open  at  the  verses  which  he  was  reading 
he  drew  his  last,  gentle,  melancholy  breath. 
That  was  thirty  years  ago.  Hundreds  of 
actors,  particularly  those  of  scholarly  tastes, 
are   members   of   the   club.     Francis   Byrne, 


going  there  from  the  Comedy  Theater,  where 
he  had  been  playing  an  important  role  in 
Jitta's  Atonement,  with  Bertha  Kalich,  col- 
lapsed upon  one  of  the  big  velvet  divans, 
placed  his  hand  on  his  heart  and  died.  Three 
years  ago  the  actors  who  enjoyed  membership 
in  The  Players  erected  the  statue  in  Gra- 
mercy Park  to  the  leader  of  the  American 
stage.  Eugene  O'Brien  goes  to  the  Players 
Club,  1 6  Gramercy  Square,  New  York  City, 
for  his  relaxation  and  his  mail.  Now  for  the 
promised  brevity.  Ramon  Novarro,  Metro. 
Rodolph  Valentino,  Hotel  des  Artistes.  Ivor 
Novello,  Care  D.  W.  Griffith.  Kenneth  Har- 
lan, Preferred  Pictures. 

Western  Pep,  Denver,  Colo. — How  nice 
of  you  to  say  you  think  "Questions  and 
Answers"  is  the  pep  of  the  whole  book.  And 
to  add  that  you  "believe  I  understand  the 
ways  of  the  world  and  its  people  and  further- 
more believe  you  are  a  jolly  good  fellow."  So 
are  you,  Western  Pep,  even  though  you  wear 
skirts  instead  of  trousers.  Good  fellowship 
is  in  the  soul  and  heart  and,  like  brains,  is 
sexless.  But  my  name?  Nay.  Nay.  Publi- 
cation rules  and  my  own  native  modesty — the 
violet  has  nothing  on  me  in  that  respect — 
forbid.  You  will  send  me  a  snap  shot  of 
yourself,  you  say.  Kind  of  you  but  isn't 
there  a  "sweetie"  or  "best  young  man,"  who 
would  protest  against  such  graciousness  to 
an  unknown?  He  may  be  much  handsomer 
and  worthier  than  I.  What  if  I  were  a  world 
war  veteran  with  an  empty  sleeve  or  a  wooden 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


WHAT  joy  to  know 
your  hair  is  clean 
-yet  soft  and  silky. 
Wild  root  Cocoanut  Oil 
Shampoo  leaves  your 
hair  dainty  and  with  a 
delicate  fragrance  that 
breathes  refinement.  And 
it  is  always  so  easy  to 
arrange. 

— these  virtues  come 
only  from  the  blend- 
ing of  the  purest 
ingredients  that 
money  can  buy. 

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Photoplay  Magazine — Advertising  Section 

leg;  or  a  famous  hero  minus  a  feature;  one  who 
dances  no  more  and  swings  his  way  through 
the  world  on  crutches?  You  have  a  large 
heart  for  you  write  in  the  next  paragraphs  that 
you  think  "  Ramon  Novarro's  acting  is  simply 
wonderful  and  you  just  adore  him  and  his 
pictures."  I  give  you  his  address  with  pleasure. 
Write  him  care  Metro  Studios.  He  might 
send  his  picture.  Why  not  try?  I  am  unable 
to  tell  you  whether  he  has  a  secretary  and  if 
he  has  whether  she  is  "heartless."  Is't 
possible,  as  some  of  my  friends  suspect,  that 
one  of  your  tender  sex  is  without  a  heart? 
That  is,  outside  of  a  "picture"?  I  like  to 
think  not.  You  finish  your  interesting  letter 
by  saying  that  you  are  "nothing  but  a  western 
girl."  Don't  say  that  again,  little  girl.  Be 
proud  that  you  are  of  "The  vast,  quiet  spaces 
of  the  west."  That  isn't  mine.  I  got  it  from 
Douglas  MacLean's  last  picture,  "The  Sun- 
shine Trail." 

H.  L.,  Niagara  Falls,  N.  Y. — O  maid  of 
the  overhanging  mists  and  of  the  rainbow  that 
arches  so  often  the  great  falls!  It  affords  me 
pleasure  to  tell  you  who  was  the  screen  lover 
of  Lillian  Gish  in  "The  Two  Orphans  of  the 
Storm."  He  is  the  young  man  who  has  been 
characterized  by  radical  admirers  of  his  as 
"the  handsomest  man  in  the  world."  He  is 
Joseph  Schildkraut,  an  actor  born  in  Europe, 
educated  in  this  country  and  who  has  played 
in  principal  European  capitals.  He  has  won 
stage  success  too  in  this  country,  in  "Liliom" 
and  in  "Peer  Gynt."  He  has  been  called  'The 
John  Barrymore  of  Europe"  because  across  the 
Atlantic  he  played  the  same  roles  which  Barry- 
more  played  here,  "Hamlet"  and  the  principal 
roles  in  "The  Jest"  and  "Redemption."  I  will 
forestall  your  question.  He  is  married.  His 
bride  is  a  lovely  Southerner,  foster  sister  of 
Tom  Powers,  the  actor.  Her  stage  name, 
which  is  likewise  her  maiden  name,  is  Elise 
Bartlett. 

Jerry  of  Sherman,  Texas. — Men  as  I  be- 
fore, and  sapiently,  have  observed  are  but 
human.  Rodolph  Valentino  is  a  man,  there- 
fore human.  Hence  he  will  be  glad  to  know 
that  you,  who  write  backhandedly  under  the 
soubriquet  of  Jerry,  "worship  at  his  shrine 
as  ardently  as  any  flapper.  He's  so  disgust- 
ingly handsome."  Suspicion  stirs  deep  in  my 
being,  Jerry.  Maybe  you  are  a  man  and  en- 
vious of  the  darkeyed  one's  reign  over  the 
hearts  of  the  women  in  his  audiences.  I  am 
not  sure.  If  you  are  Mr.  Jerry  instead  of 
Miss  Jerry  you  would  not  be  likely  to  say, 
"His  eyes  intrigue  me,  exceedingly,  oh  where, 
oh  where,  can  I  obtain  a  photograph  of  'The 
Young  Rajah'?"  Write  him  care  of  his  head- 
quarters, 50  West  67th  Street,  New  York, 
N.  Y. 

"Lasses,"  Little  Rock,  Ark. — What  does 
that  name  mean,  Miss  "Lasses"?  Is  it  an 
abbreviation  of  Molasses  or  do  you  mean  that 
there  are  two  of  you.  Perhaps  twins?  Not 
that  it  matters  so  much  that  I  actually  will 
refuse  to  answer  questions  until  you  answer 
mine.  I  am  perfectly  willing  to  tell  you  now 
that  Constance  Talmadge  has  brown  eyes  and 
golden  hair,  and  that  her  hobby  in  this  season, 
at  least,  is  icecream — she  prefers  fruit  sundaes. 
All  their  friends  know  of  their  fondness  for  the 
frozen  dainties.  Lillian  Gish  told  me  that 
the  Gish  girls  started  the  Talmadge  sisters  on 
the  road  of  the  three  sundaes  a  day  habit 
Connie's  latest  picture  is  "East  is  West." 
Betty  Compson's  birthplace  is  that  interesting 
town  walled  in  by  the  Wasatch  Mountains, 
Salt  Lake  City,  the  Zion  of  the  Mormons. 
She  is  a  truly  golden  blonde.  Her  hobbies  are 
swimming,  dancing  and  playing  the  violin. 
From  which  you  may  deduce  that  she  is  a 
healthy  girl  of  joyous  disposition. 

A  "Belle  from  Piiilly." — You  have  been 
misinformed,.  Miss  Belle,  George  Waggener 
did  not  appear  in  "The  Sheik"  or  "The  Gilded 
Age,"  at  least  the  casts  do  not  reveal  his  name. 

^Cheti  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


Hair  like 
spun  gold 

THEY  had  been  in  bathing  for 
hours.  Yet,  as  she  took  off  her 
bathing  cap,  her  hair  was  like  spun 
gold. 

Every  girl  knows  how  difficult  it  is 
to  make  her  hair  attractive  after  she 
has  been  in  the  water. 

But  there  are  thousands  of  women 
who  have  learned  the  way  to  lovely 
hair  at  all  times.  They  have  found 
that  Wildroot  Hair  Tonic  keeps  hair 
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No  matter  if  your  hair  is  dull,  life- 
less or  even  full  of  dandruff,  you 
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After  your  Wildroot  shampoo,  mas- 
sage Wildroot  Hair  Tonic  into  the 
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NY. 

WILDROOT 

HAIR  TONIC 


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io4 


Photoplay  Magazine — Advertising  Section 


before 

These  photo- 
graphs shoic 
hand  of  Mildred 
Mc  K  a  m  y.  La 
Grange, Ills.,  be- 
fore  and  after 
w  ea  r  ing  Dr. 
Egan's  magic 
night  gloves. 


The  whitening 
action  of  these 
glores  is  due  to 
their  specially 
Impregnated 
fabric.  Avoid 
i  m  nations 
which  are  mere- 
ly scented. 


Magic  Gloves 
WhitenHands 

GLOVES  of  amazing  powers!  Worn  at  night,  while 
you  sleep,  thev  work  a  miraculous  transformation 
in  the  hands.  They  turn  the  hands  white — as  white 
as  a  lily,  and  as  soft  and  smooth.  Your  hands  may 
be  a  raw  red  or  an  "old-age"  yellow;  they  may  he 
dark  with  tan  or  blotched  with  freckles  or  liver  spots; 
they  may  be  deeply  lined,  rough  and  coarse — yet  they 
become  hands  of  the  whiteness  of  snow  and  the  softness 
of  velvet  under  the  magic  of  these  gloves. 

Results  In  One  Night 

The  gloves   are   medicated   with   a   wonderful   solution 

f>erfected  by  the  famous  Dr.  S.  J.  Egan.  The  medicated 
abrlc  (not  rubber)  when  activated  by  the  warmth 
of  the  hands  has  a  peculiarly  potent  whitening  and 
softening  effect  upon  the  hands.  The  hands  actually 
turn  white — a  charming  natural  white.  They  become 
soft  and  smooth,  exquisitely  so.  Even  hands  that  look 
hopelessly  old  and  worn  take  on  a  youthful  freshness. 
Just  one  night's  wear  will  prove  a  revelation. 

Do  Your  Hands  Spoil  Your  Charm? 

What  does  it  profit  a  woman  to  have  beauty  of  face  or 
figure  or  the  clothes  of  a  queen  if  her  hands  are  uncouth? 
By  your  hands,  more  than  anything  else,  does  the  world 
estimate  you.  No  need  now  to  put  up  with  hands  that 
you  have  to  hide.  Dr.  Egan's  Magic  Gloves  give  you 
hands  of  a  beauty  to  he  proud  of.  Send  today  for  the 
complete  outfit  for  free  trial.  Note  that  the  gloves  fit 
comfortably — no  binding.  Note,  too,  that  a  jar  of 
Dr.  Egan's  Pore-Lax  accompanies  the  gloves,  all  in  a 
neat,  attractive  container.  The  Pore-Lax  is  a  special 
cream  to  apply  before  donning  the  gloves,  to  open  the 
pores  for  the  purpose  of  quickening  the  action  of  the 
Impregnated  gloves. 

FREE  Trial  Offer — Send  No  Money 

When  offered  for  sale  through  theregular  channels,  the  price 
of  Dr.  Egan's  Gloves  will  be  $5.  For  the  present,  how- 
ever, a  limited  number  of 
orders  will  be  filled  direct  at 
the  Introductory  price  of  $2.90 
(plus  postage).  Act  promptly 
on  this  offer.  Send  no 
money  now — merely  pay 
postman  $2.90  (plus  post- 
age) on  delivery  of  com- 
plete outfit.  Use  the 
gloves  5  days.  Your  mon- 
ey back  if  you  are  not 
more  than  delighted  with 
the  change  in  your  hands. 
Orders  filled  in  torn.  Mall 
yourx    today.       Use    the 


coupon  or  copy  the  word- 
ing in  a  letter  or  postcard. 


DR.  S.  J.  EGAN,  Dept.  32, 

220  South  State  Street,  Chicago,  111. 
Please  send  me  (In  plain  package)  for  free  trial,  a  pair 
of  Dr.  Egan's  Magic  Gloves  for  whitening  and  softening 
the  hands.  I  will  pay  postman  $2.90  (plus  postage)  on 
delivery  of  the  gloves.  (If  you  prefer,  send  S3  now  In 
full  payment.)  If  I  am  not  perfectly  delighted  with  the 
change  In  my  hands  In  5  days,  I  may  return  gloves  and 
get  my  money  back  in  full. 


Name. 


My  Glove  Size  is. 


Reixe  L.,  Monett,  Mo. — Sweet  of  you  to 
set  me  right,  Miss  L.  Poor  human  nature  is 
prone  to  mistakes.  I  was  quite  sure  that 
Mabel  Julienne  Scott  is  single.  But  you  say 
you  "beg  to  differ  and  that  she  married  Mr. 
Browning,  a  nonprofessional,  and  has  been 
here  to  visit  her  husband's  mother  in  this  same 
town."  Thank  you.  Malcolm  McGregor, 
Metro.  Ramon  Novarro,  Metro.  Another 
fair  one  wanting  to  know  where  she  may  write 
Ivor  Novello?  Happy  Ivor!  Once  again  my 
typist  rattles  off  the  many  times  repeated 
direction  "Care  David  Wark  Griffith." 
Richard  the  Popular's  name  is  pronounced 
Bar'-thel-mess. 

L.  S.,  Rockford,  III. — You,  too,  admire 
Mae  Murray's  loveliness?  In  that  you  have 
much  company.  The  Answer  Man  buys  a 
front  seat  for  a  Mae  Murray  picture.  Alas! 
for  the  poor  bachelors  and  widowers  who 
admire  her  she  is  married  with  every  appear- 
ance of  permanence  She  married  Robert 
Leonard,  her  director  and  partner.  A  love 
match  made  in  the  Hollywood  studios  while 
they  were  working  on  pictures  together.  When 
East  she  lives  in  a  studio  apartment  near 
Central  Park  West.  You  can  get  a  photo- 
graph of  her  by  writing  the  Metro  Studio. 
Yes,  Richard  Barthelmess  is  a  benedict.  He 
has  been  married  for  more  than  two  years  to 
Mary  Hay.  Since  February  he  has  been  a 
proud  and  fond  papa.  He  once  told  me  that 
his  ambition  is  to  keep  his  family  together 
and  happy.  Must  you  really  know  the  ages 
of  these  picture  idols  of  yours?  Very  well. 
I'll  give  you  a  start.  A  little  figuring  is  good 
for  the  brain,  dear  Lenore.  Miss  Murray  was 
born  in  1886.  Mr.  Barthelmess  first  opened 
his  eyes  upon  this  world  in  1895. 

M.  L.  C,  Tiddings,  Tex. — Yes,  Marjorie,  I 
should^  say  Valentino  the  Superb  would  send 
you  a  photograph.  Why  not  ask  him  your- 
self, prettily?  Send  your  letter  to  him  at  the 
Hotel  des  Artistes,  1  West  Sixty-seventh  Street. 
The  Hotel  des  Artistes  is  what  its  name 
indicates,  the  home  of  many  artists.  Mme. 
Yorska  had  a  studio  therein.  I  have  called 
on  and  smoked  with  Robert  Edeson  within  its 
portals.  Robert  Vignola  gave  me  there  a  good 
dinner.  Quite  natural  that  Rodolph  should 
gravitate  to  the  artistic  hostelry.  That  pop- 
ular bridegroom,  Harold  Lloyd,  should  be 
addressed  at  the  Hal  Roach  Studios,  Culver 
City,  Cal.  Lila  Lee  and  her  photographs 
may  be  traced  through  the  Famous  Players- 
Lasky  Corporation,  1520  Vine  St.,  Hollywood, 
Cal.  Katherine  MacDonald  has  a  studio  of 
her  own.  To  let  your  wants  reach  her  lumi- 
nous eye  or  dainty  ear  you  should  write  her 
care  the  Katherine  MacDonald  Studio,  904 
Girard  St.,  Los  Angeles,  Cal.  The  bride  and 
bridegroom,  Marilyn  Miller  and  Jack  Pickford, 
should  be  communicated  with  by  way  of  the 
United  Artists,  Mary  Pickford  and  Douglas 
Fairbanks  Studio,  Hollywood,  Cal. 

Dicksie,  Hollywood,  Cal. — You  will  be  a 
good  wife,  Dicksie.  You  say  little  and  make 
it  to  the  point.  You  do  not  ramble.  You 
write  me  across  continent  to  tell  me  that  Mary 
Pickford  and  Agnes  Ayres  are  your  favorite 
actresses.  I'm  sure  they  will  be  glad  to  know 
it.  Nothing  you  wanted  to  know?  Just 
wanted  to  tell  me  that.  It's  interesting.  How 
old  are  you,  Dicksie?  School  girl  age,  I'll 
wager. 

Claire,  an  uptown  address,  in  the 
Biggest  Town  in  America. — Sorry  it  was  a 
long  and  tedious  process  to  screw  up  your  nerve 
to  ask  for  information.  Knowest  thou  not 
that  the  Good  Book  saith  "Ask  and  ye  shall 
receive"?  I  am  not  formidable.  The  birth 
records  say  that  a  small  red,  yowling  infant 
was  born  in  1895.  The  church  records  reveal 
that  subsequently  and  without  his  written  or 
spoken  consent  he  was  named  Kenneth  Harlan. 
Rodolph  Valentino  is  on  tour.  His  address 
— temporarily  permanent — is  Hotel  des  Ar- 
tistes, a  hostelry  on  which  I  before  have  en- 
larged. 


Barbara  of  the  City  of  Roses — Delighted 
to  add  to  the  fund  of  information  of  one  who 
writes  over  such  an  engaging  name.  The 
handsome  African  explorer  who  won  your 
admiration  in  "The  Drums  of  Fate"in  which  he 
played  opposite  Mary  Miles  Minter  is  Maurice 
("Lefty")  Flynn.  You  want  to  write  him? 
O  Barbara  of  the  Roses — "  Babbie !"  Well  if  you 
must  you  must.  Why  can't  all  that  part  of 
the  human  family  that  wears  trousers  be 
motion  picture  actors?  We  might  not  all 
be  proof  against  the  admiration  of  such  lovely 
girls  as  I  am  sure  Barbara  of  the  Roses  is. 
"Lefty's"  wife  is  not  an  actress  because  he 
hasn't  any.  The  letter,  if  it  starts,  must  go 
to  the  Lasky  Studios.  You  "are  enjoying 
reading  Rodolph's  Life  History"  and  are 
"glad  that  he  and  Winifred  are  happily  mar- 
ried." You  "wish  them  all  the  happiness  in 
the  world."  Very  generous  of  you,  Babbie, 
but  I  hope  enough  will  be  left  lavishly  to 
supply  you. 

E.  L.  K.,  Darien,  Conn. — Um,  New  Eng- 
land reserve!  Certainly  we  will  publish  only 
the  initials  if  you  prefer.  Wonder  if  you  are 
an  architect.  Why?  Because  you  desire  the 
"ground  plan" — that's  what  architects  call  it 
if  one  is  considering  a  building — of  Pauline 
Garon  and  Malcolm  McGregor.  Miss  Garon 
is  five  feet  one  inch  tall  and  weighs  100  pounds. 
She  is  about  nineteen  years  old.  Her  hair  is 
blonde.  Her  eyes  are  hazel.  "A  French 
blonde,"  in  common  parlance.  Her  address  is 
care  Arthur  H.  Jacob  Productions,  United 
Studios,  Hollywood,  Cal.  Malcolm  McGregor 
is  six  feet  tall  and  weighs  1 70  pounds.  Carries 
them  well,  you've  noticed.  They  are  not 
wont  to  run  to  one  or  two  conspicuous  spots 
as  in  the  case  of  paunchy  men  we  sometimes 
see  wistfully  admiring  his  figure  from  the 
audience.  He  has  dark  brown  hair  and  eyes. 
He  was  graduated  from  Yale.  He  is  married 
to  a  nonprofessional.  His  address  is  Metro. 
There,  E.  L.  K.,I  threw  in  the  hair  and  eyes 
and  marriages  and  the  stuff  about  Yale  for 
good  measure  or  as  they  say  down  New  Orleans 
way,  lagniappc.  Aren't  I  nice  even  though, 
not.  as  one  of  my  sweet  correspondents  says, 
a  "little  man"?, 

M.  P.,  Atlanta,  Ga. — Another  seeking 
information  about  the  fascinating  Norma 
Talmadge.  She  was  born  in  1895.  Her 
height  is  five  feet  two  inches.  Her  weight  is 
no  pounds.  A  "friend  of  the  family"  tells 
me  that  it  is  of  Spanish  origin.  Her  leading 
man  in  "Within  the  Law"  is  Jack  Mulhall. 

G.  I.,  Derby,  Conn. — You  write  humor- 
ously of  the  uneven  distribution  of  life's  gifts. 
A  "twin"  you  know  is  "as  pretty  as  a  picture" 
and  the  other  is  cross-eyed,  bow-legged  and 
knock-kneed.  "Can  I  imagine  her  before  a 
camera?"  I  can.  She  might  make  her 
fortune  as  a  comic.  For  the  rest  of  your 
missive,  Ramon  Novarro,  happily  for  the  peace 
of  mind  of  many  maids,  is  unmarried.  Chat 
with  him  by  way  of  pink  paper,  a  fountain  pen 
and  the  Metro  studios. 

A.  W.  A.,  Westport,  Conn. — What  a 
charming  name  for  a  home.  Recalls  the  trees 
in  the  environs  of  Paris  where  one  dines  up- 
stairs, as  it  were,  on  tables  spread  among  the 
branches.  The  pronunciation  of  Bert  Lytell's 
name  puzzles  you?  Pleased  to  end  the  con- 
fusion. No  ambiguity  in  the  first  name. 
Short.  Blunt.  Honest.  Lytell  is  pronounced 
with  the  accent  on  the  last  syllable.  The  "y" 
in  the  first  syllable  is  short. 

Juin,  St.  Louis,  Mo. — All  you  want  to 
know  all  I  know  save  about  the  pictures  in 
which  he  appears.  You  say  you  have  seen 
and  admired  them.  Good.  How  is  this  for 
the  other  essentials?  Novarro  was  born  in  Dur- 
ango,  Mexico,  February  6, 1899.  He  is  five  feet 
ten  inches  tall.  That  is  socks,  not  boot, 
height,  I  believe.  He  weighs  160  pounds.  He 
is  a  dancer.  Unmarried.  His  newest  picture 
is  "Scaramouche,"  made  from  the  novel  by 
Sabatini. 


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E.  E.  L.,  Carthage,  Texas. — "Real  mad 
when  you  read  of  Harold  Lloyd's  marriage," 
were  you?  Come,  come,  Edna,  there's  a  good, 
and  too  little  read,  book  that  warns  us  not 
to  covet  our  neighbor's  wife.  That  includes 
husbands.  You  wouldn't  have  the  comic 
Harold  spend  his  life  in  alleged  single  blessed- 
ness, and  become  a  fussy,  peculiar,  neighbor- 
hood grouch,  would  you?  That's  better.  I 
knew  that  at  heart  you  are  an  unselfish  girl. 
No.  Thomas  Meighan  and  Leatrice  Joy  are 
not  relatives.  I  hadn't  noted  the  resemblance. 
I  wonder  which  of  them  will  be  most  pleased 
by  your  discovery.  "Tommy"  will  make  the 
lower  bow,  of  course,  and  Leatrice  will  make  a 
becoming  little  curtsey.  Harrison  Ford's  age 
is  thirty-one  years.  Married?  Y — Y — yes. 
But — ray  of  hope — that  good  looking  and 
affable  director,  now  traveling  and  forgetting 
the  cares  of  directorship,  Robert  Vignola,  is 
single.  No,  Bebe  Daniels  is  not  married.  In 
so  far  as  she  has  confided  to  the  Answer  Man 
she  is  not  engaged. 

Paul  Bright,  Sweetwater,  Tenn. — Your 
letter  is  short,  direct,  scant  of  words.  Way 
we  fellows  all  write.  Slap  you  on  the  back, 
old  top.  Call  me  Rupert  if  you  must.  I 
don't  care.  I  believe  Rupert  of  Hentzau  was 
something  of  a  fellow.  No  curiosity  about  any 
of  the  lovely  girl  stars.  You're  a  strange 
fellow  I  must  say,  Paul.  Slap  you  on  the  back 
again.  Beg  pardon.  Nearly  made  you  bite 
the  dust,  didn't  I.  You  want  to  know  Tom 
Mix's  address  and  the  cost  of  one  of  his  photo- 
graphs. Charmed  to  be  of  service.  Address 
him  care  Fox  Films.  Tom  Mix  photographs 
are  going  rapidly  at  a  quarter  per. 

Old  Fashioned  Girl,  Brooklyn,  N.  Y. — 
Have  heard  Brooklyn  answered  to  roll  call  of 
cities  as  Baby  Town,  Perambulatorville  and 
The  City  of  Churches.  I  had  never  heard  it 
alluded  to  as  "the  town  of  old  fashioned  girls." 
Being  of  Brooklyn  and  an  alleged  old  fashioned 
girl  you  are  naturally  interested  in  that 
delectable  boy  baby,  Jackie  Coogan.  Of 
course  we  all  join  you  in  your  admiration  of 
Jackie.  Miriam  Battista,  who  is  an  experi- 
enced actress  of  about  ten,  says  she  would  like 
to  marry  Jackie.  Jackie  hasn't  been  con- 
sulted. Had  he  been  he  would  probably  say 
he  prefers  dogs  to  girls.  Masculine  tastes 
vary  widely  according  to  age.  You  inquire 
about  Jackie's  age.  The  million  dollar  kid 
measures  his  age  by  eight  full  years.  More 
of  experience  and  achievement  are  crowded 
into  them  than  most  persons  have  had  at  six 
times  his  age.  You  can  express  your  senti- 
ments to  Jackie  in  a  letter  sent  care  Metro. 
His  latest  picture  is  "Daddy."  Madge  Evans 
is  his  elder  by  six  years.  Your  arithmetic  is 
perfect.  She  is  fourteen.  Her  next  picture 
will  be  "On  the  Banks  of  the  Wabash," 
Associated  Exhibitors.  Guess  your  age? 
Blinking  at  you  across  the  bridge  I  should  say 
seventeen.     Am  I  right? 

Bee  Lee,  New  Orleans,  La. — Your  char- 
acterization is  good.  The  "boyish  boy,"  as 
you  call  him,  of  "Tess  of  the  Storm  Country," 
is  Lloyd  Hughes.  Ramon  Novarro's  age? 
Summon  your  mathematics,  my  child.  He 
was  born  February  sixth,  189Q.  Just  turned 
the  corner  of  twenty-four.  How  bright  you 
are!  You've  "oodles  of  questions"  to  ask  me 
but  want  to  get  on  intimate  terms  before  you 
do.  Alas!  Powerless  is  poor  man  in  the  grasp 
of  powerful  woman,  mighty  in  charm! 

P.  W.,  Petersburgh,  Va. — Writing  to  me 
during  the  study  period  at  school  and  the 
teacher  "is  already  glancing  at  you  with  sus- 
picion" you  say.  She  would  do  more  than 
that  if  she  knew  that  you  were  writing  me 
your  impressions  of  Miss  Logan  of  "Ebb  Tide" 
and  of  Monte  Blue.  Miss  Logan,  who  played 
the  part  of  the  brown  skinned  maiden,  is 
certainly  beautiful  and  you  would  like  to 
see  much  more  of  her.  Back  to  your  books, 
boy!  Do  they  use  corporal  punishment  in  your 
public  schools?        [  continued  on  page  108  ] 


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Meet  the  Duchess! 

[  CONTINUED  FROM  PAGE  39  ] 

Pretense  is  not  one  of  her  gifts.  She  has  the 
frankness  of  the  true  aristocrat. 

John  Masefield  is  her  literary  favorite.  She 
reads  him  constantly  because  he  interests  her. 
But  so  do  boxoffice  reports,  Poetry  and  prac- 
ticality. 

Her  taste  in  pictures  is  positive  and  critical. 
She  considers  "Driven"  the  finest  work  thus 
far  executed— not  a  grain  of  hokum  in  it. 

"But  it  didn't  pa)',"  she  deplored,  proving 
that  she  knows  boxoffice  reports  as  well  as 
artistic  values.  "Neither  did  'Sentimental 
Tommy,'  another  masterpiece." 

I  ventured  the  optimistic  thought  that  the 
public  might  in  time  be  educated  to  an  appre- 
ciation of  such  art. 

She  shook  her  head.  "Is  Tolstoy  popular? 
Does  the  public  at  large  crave  Barrie?" 

When  I  arose  to  go  I  noted  some  of  her 
photographs  on  the  table. 

"Do  you  like  them?"  she  asked. 

I  didn't.  There  was  a  nun-like  severity 
about  them.     "Too  virginal,"  I  said. 

Her  brows  puckered  slightly.  "Oh  dear," 
she  murmured  plaintively,  "that  will  never 
do.    Photographers  don't  seem  to  get  me." 

They  don't.  Neither  do  directors,  as  yet; 
She's  a  slim  flambeau  of  alabaster,  waiting  the 
touch  of  flame.  I  recalled  my  first  impression 
of  her.  It  was  the  opening  night  of  Von 
Stroheim's  "Foolish  Wives."  She  was  in 
ermine,  an  imperial  wreath  of  gold  leaves  about 
her  head,  a  diadem  suiting  her  patrician  fea- 
tures and  queenly  impassivity.  I  thought  of 
Josephine  at  the  coronation  in  Notre  Dame. 
Mais  noil.  Rather  the  pagan  Zenobia  in  the 
emperor's  Roman  triumph,  moving  in  purple, 
gems  and  amaranth  amid  the  swirling  incense. 

When  she  finishes  "Under  the  Red  Robe" 
she  says  she  is  going  to  wait  until  she  finds  the 
right  role.  Then  perhaps  the  flame  will  melt 
that  frigidity  of  feature,  burst  through  that 
majestic  marble  calm,  and  we  will  behold,  as 
the  Parisian  taxi  driver  did,  a  flaming  Borgia! 


Gag  Men 

[  CONTINUED  FROM  PAGE  45  ] 

day,  while  he  watched  Harold  carrying  out  one 
of  his  ideas.  "A  situation  is  the  meat  and  a  gag 
is  the  dressing.  A  gag  must  always  depend 
upon  true  characterization  or  logical  develop- 
ment of  a  situation.  It  takes  a  serious  minded 
guy  to  think  up  gags. 

"I  do  a  lot  of  them — but  Harold  is  a  marvel- 
ous gag  man  himself.  He  works  right  with  me 
on  everything." 

Lloyd  Hamilton  has  a  gag  man  named 
Archie  Mayo,  who  used  to  be  a  shirt  salesman, 
but  had  so  many  funny  ideas  when  he  was  sell- 
ing Hamilton  shirts  the  comedian  invited  him 
to  become  a  gag  man.    Which  he  did. 

Al  Christie,  who  has  made  over  nine  hundred 
comedies,  is  a  great  gag  man,  and  works  super- 
vising this  line  of  work  for  the  entire  studio. 
He  also  employs  a  gag  department  of  six  or 
eight  men. 

Oh,  it's  a  lucrative,  respectable,  and  laud- 
able profession  in  Hollywood — gagging. 


STIMULATED  by  the  success  of  "Robin 
Hood"  and  "The  Covered  Wagon," 
virtually  every  producer  is  hastening  to  film 
costume  pictures.  The  public  will  be  swamped 
by  costume  pictures  this  fall,  with  enough  to 
extend  over  the  entire  next  year.  As  usual, 
many  producers  see  only  the  external.  The 
success  of  such  pictures  as  "The  Covered 
Wagon"  and  "Robin  Hood"  is  not  due  to 
costumes.  Clothes  do  not  make  a  picture. 
Nor  do  time  and  place  matter  so  long  as 
the  story  is  great.  There  is  this  to  be  said, 
however,  for  dramas  of  other  times  and  of 
other  places,  they  give  to  the  screen  a  long- 
desired  variety. 


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The  Man  Who  Gets  What  He  Wants 


107 


[  CONTINUED  FROM  PAGE  37  ] 


Mrs.  Meighan — Frances  Ring,  you  know — has 
had  great  stage  experience  from  which  she  has 
gained  an  excellent  understanding  of  play  con- 
struction and  stories.  My  lawyer,  Nathan 
Burkan,  is  another  whom  I  often  consult.  He 
knows  people  and  their  reactions.  I  sometimes 
ask  him  to  pass  on  a  story.  Or  my  friend, 
David  Warfield,  with  whom  I  played  for  three 
years — no  one  knows  play  values  any  more 
thoroughly." 

After  finding  the  right  story,  the  next  move 
on  the  part  of  a  star  is  to  get  it.  This  often 
requires  argument  with  company  officials.  A 
star  may  have  a  contract  which  gives  him  a 
right  to  pass  on  his  stories  but  the  privilege  is 
nothing  unless  he  can  offer  constructive 
criticism. 

Rodolph  Valentino  once  said  that  Meighan 
was  the  only  star  on  the  lot  who  always  gets 
what  he  wants. 

"Because,  for  one  thing,"  says  Meighan,  "I 
never  say  no — without  a  reason.  And  it  must 
be  a  business  reason,  for  I'm  talking  to  business 
men. 

"Therefore  I  must  know  the  box  office  angle. 
I  must  know  what  the  public  expects  of  me. 
And  I  must  present  proofs — the  proofs  are  fan 
letters  and  reports  from  exhibitors." 

Meighan  does  not  find  in  his  fan  letters  the 
stimulus  of  applause  which  so  many  stars  find. 
He  doesn't  care  about  that.  He  reads  them 
from  an  entirely  different  motive. 

"I  study  my  fan  letters  just  as  I  would  study 
market  reports.  I  don't  get  one  mash  letter  in 
a  thousand.  But  I  do  get  some  excellent 
criticisms  and  estimations." 

Producers  have  the  maxim  that  actors  are 
children,  but  the  maxim  doesn't  hold  with 
Meighan.  They  recognize  in  him  an  exception 
— perhaps  a  proving  exception. 

HE  speaks  with  the  impressive  manner  of  a 
man  who  knows  his  business,  a  man  of  sin- 
cerity, methodical  mentation  and  applied 
scholarship.  There's  none  of  the  table- 
thumping,  look-em-in-the-eye  impressiveness 
that  you  get  in  twenty  lessons  from  a  corre- 
spondence school.  On  the  contrary,  there  are 
no  gestures  whatsoever.  Meighan  speaks  in 
low,  definite  personal  tones,  almost  confiden- 
tial. An  interview  with  him  has  the  illusion  of 
being  strictly  entres-nous.  It's  man  to  man. 
No  footlights,  no  bouquets. 

To  show  me  how  he  goes  into  every  detail  of 
story  and  production  before  commencing  work 
he  brought  out  a  script.  Only  about  half  of  it 
was  story,  the  rest  consisted  of  notes — explana- 
tions and  reasons  for  every  detail,  even  to  the 
title.  He  had  intended  to  make  "White 
Heat,"  but  upon  considering  his  production 
schedule  he  found  that  it  would  have  to  be 
released  in  July.  He  postponed  it.  His  reason 
was  that  "White  Heat"  was  no  title  to  get 
business  during  the  white  heat  of  July. 

It  is  he,  personally,  who  negotiates  with  Rex 
Beach,  George  Ade  and  Booth  Tarkington  and 
obtains  their  stories,  because  they  present  the 
robust,  sturdy  American  phases  of  life  and 
character  for  which  he  is  suited. 

Did  it  ever  occur  to  you  that  Meighan  is 
virtually  the  only  star  playing  men.''  All  the 
others  devote  themselves  almost  exclusively  to 
juvenile  roles,  the  idea  being  that  the  public 
demands  youth  of  its  heroes. 

Meighan  has  found  a  place  for  the  middle- 
aged  man.  And  his  success  has  been  as  steady 
and  substantial  as  that  character. 


He  is  the  screen  symbol  of  the  American 
man.  In  him  Mr.  Babbitt  beholds  an  image  of 
himself — or  what  he  thinks  he  is,  a  regular, 
normal,  practical  business  man,  a  family  man 
and  a  progressive  citizen,  the  type  held  up  as  a 
national  example  of  success. 

Everyone  in  the  business  knows  how 
Meighan  secured  an  option  on  the  publisher's 
rights  of  "The  Miracle  Man"  from  his  friend, 
Bob  Davis,  editor  of  Munsey's,  how  he  went  to 
his  friend,  George  M.  Cohan,  and  secured  the 
dramatic  rights,  how  he  peddled  the  story  from 
producer  to  producer  and  finally  sold  it  to 
George  Loane  Tucker. 

"What  do  you  want  for  your  commission?" 
asked  Tucker. 

"The  role  of  Tom  Burke,"  said  Meighan 
tersely. 

He  knew  the  play  and  the  part  would  make 
him.  It  did.  Meighan  achieved  stardom  and 
a  contract  with  Paramount  which  led  to  a 
salary  of  $5,000  a  week. 

"I  knew  the  part  in  'The  Miracle  Man'  was 
more  valuable  to  me  than  any  amount  of 
money.  I've  always  sacrificed  cash  for  class. 
My  motto  is,  Where  Do  We  Go  from  Here? 

"The  man  who  sits  down  in  the  movie  busi- 
ness is  like  the  man  who  tries  to  sit  on  a 
moving  stairs.  He  goes  over  the  side  into  the 
machinery. 

"The  beginner  in  pictures  should  plan  his 
career  exactly  as  he  would  in  any  business.  I 
did.  If  I'd  taken  up  medicine,  as  I  once 
planned,  I  would  have  expected  to  spend  six 
or  eight  years  in  a  university  before  I  even 
started  to  practice.  It's  a  little  easier  in  the 
movies,  because  you  can  make  a  few  dollars 
from  the  outset,  but  you  have  to  study.  There 
aren't  any  text  books  or  professors,  so  you  must 
plan  your  own  course.  Learn  from  experience 
—yours  and  the  other  fellow's. 

"If  I  started  out  today  to  be  a  movie  actor 
I'd  hit  right  for  Hollywood  and  make  the 
rounds  of  the  studios  for  an  extra  job.  But  I 
wouldn't  be  content  to  work  aimlessly  as  an 
extra.  I'd  choose  an  objective — some  director 
like  Ingram  or  de  Mille  who  is  interested  in 
new  talent  and  is  willing  to  take  the  time  to 
develop  it.  I'd  get  into  their  pictures  some- 
how. It  can  be  done  by  using  the  head.  Some- 
times I  think  the  movie  business  is  the  easiest 
in  the  world  to  break  into.  What  chance 
would  a  fellow  have  getting  into,  say,  the 
banking  business  here  in  New  York  without 
any  experience  whatsoever?" 

Employing  the  principles  of  a  sound  business 
man  Meighan  has  amassed  a  fortune,  and  at 
middle-age  he  is  making  more  than  he  did  in 
the  juvenile  period. 

BUT  what  impressed  me  most  about  him  is 
the  quality  which  has  earned  him  his  biggest 
assets — his  friends. 

As  we  passed  out  of  the  club  and  down  the 
street  there  was  a  steady  barrage  of  "Hello, 
Tommy!"  and  in  exchange,  "Hello,  Bill!" — 
"Hello,  George!" — "How  are  you,  Dave!" — 
and  even  to  a  stranger  who  saluted  him  as  a 
screen  friend  there  was  the  same  natural  ring 
to  his  "How  are  you!" 

The  success  of  Meighan  is  as  substantial  and 
enduring  as  the  sentiment  which  he  inspires. 
All  the  world  loves  a  lover,  but  every  human 
being  individually  desires,  above  all  else,  a  real 
and  loyal  friend.  And  to  thousands  of  people 
Meighan,  the  Regular,  personifies  the  ideal  of 
the  great  friend. 


Can  the  Beginner  Brea\  into  Pictures? 

This  question,  asked  in  hundreds  of  letters  to  Photoplay,  is  answered 
in  the  August  issue  by  the  heads  of  the  casting  departments  of  some 
of  the  leading  companies  and  by  some  of  the  most  famous  directors. 


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Monopoly  in  Pictures 


THE  Federal  Trade  Commission  has  been 
taking  testimony  to  determine  whether  the 
Famous  Players-Lasky  Corporation  is  a 
trust  and  acting  in  restraint  of  trade.  In  their 
efforts  to  learn  the  intricacies  of  this  very  com- 
plex business,  they  called  scores  of  witnesses 
and  have  delved  into  the  whole  motion  picture 
business  from  the  buying  of  stories  to  the 
leasing  of  theaters  and  the  formation  of 
regional  organizations  to  sell  films. 

Whatever  the  outcome  of  this  investigation 
it  has  been  clearly  demonstrated  that  the  chief 
reason  for  the  success  of  the  Famous  Players- 
Lasky  Corporation  has  been  that  Mr.  Adolph 
Zukor  and  Mr.  Jesse  Lasky  were  able  to 
organize  and  direct  production  for  their  com- 
panies better  than  anyone  else  could — that 
their  product  from  the  beginning  has  been 
more  consistent  than  that  of  any  other  large 
company.  They  have  made  some  bad  pic- 
tures, scores  of  them,  but  in  a  business  in 
which  the  product  can  never  be  standardized, 
they  have  succeeded  in  convincing  the  people 
of  the  country  and  the  exhibitors  of  the 
country  that  their  product  on  the  whole  has 
been  very  well  balanced. 

The  Famous  Players-Lasky  Corporation 
has  in  some  cases  used  forceful  methods, 
originating  generally  in  the  keen  mind  of 
Adolph  Zukor,  who  has  been  the  dominant 


figure  in  the  organization.  His  competitor 
would  have  adopted  the  same  measures  had 
they  been  able  to  originate  them  and  put  them 
over  as  he  did.  When  Famous  Players  started 
to  get  Mary  Pickford,  Charlie  Chaplin  and 
the  other  recognized  stars  of  the  motion  picture 
world  under  contract,  they  were  not  without 
competition.  But  they  are  accused  of  design- 
ing a  monopoly.  They  bought  and  leased 
theaters  in  so-called  "key  cities"  to  show  and 
exploit  their  pictures,  but  so  did  everyone  else 
who  could  afford  it. 

There  has  never  been  more  intense  com- 
petition in  any  American  business  than  in  the 
motion  picture  business.  And  if  the  Famous 
Players-Lasky  Corporation  is  the  dominant 
one  today,  it  is  because  of  the  brains  of  the 
men  at  the  head  of  it.  Looking  back  over  the 
history  of  the  railroad  business,  and  the  steel 
industry  and  the  oil  business,  the  progress  and 
development  of  the  motion  picture  industry 
has  been  in  comparison  a  family  affair. 

The  Trade  Commission  may  find  that  it  is 
necessary  to  break  up  a  few  regional  organ- 
izations, which  practically  amount  to  a 
monopoly,  and  which  control  the  distribution 
of  nearly  all  the  big  pictures  made.  But  in 
the  last  analysis  the  real  monopolistic  activity 
of  the  Famous  Players-Lasky  Corporation 
has  been  to  corral  the  best  available  brains. 


Questions  and  Answers 

[  CONTINUED  FROM  PAGE  105] 


M.  M.,  Chicago,  III. — "The  stunning 
chap,"  who  played  Lieutenant  Pinkerton  in 
"Madame  Butterfly"?  Marshall  Neilan.  I  like 
the  color  of  the  stationery  you  use.  It  is  dis- 
tinctive, I  have  seen  none  other  of  that  shade. 
It  isn't  purple  and  it  isn't  pink,  nor  blue,  but  it 
holds  a  soft  suggestion  of  all. 

M.  L.  K.,  Buffalo,  Wyoming. — This  mag- 
azine does  not  publish  "unfilmed  photoplays," 
thank  you. 

E.  M.  C,  Detroit,  Mich. — You  want 
Wanda  Lyon  to  bant.  Tell  her  yourself, 
please.     I  want  to  live  a  little  longer. 

C.  M.  C.j  New  Westminster,  B.  C — 
Write  to  the  Famous  Players-Lasky  Corpora- 
tion for  a  photograph  of  the  late  Wallace  Reid. 

A.  B.  Tarentum,  Penn. — You  want  to  be 
assured  "beyond  peradventure  of  a  doubt" 
whether  Richard  Barthelmess's  offspring  is  a 
boy  or  girl.  The  name  is  Mary  Hay  Barthel- 
mess.     Draw  your  own  conclusions. 

A.  C.  S.,  once  of  Hartford,  Conn. — Yes, 
Niles  Welch  was  born  in  Hartford,  Conn.  The 
date  of  the  important  event  was  July  29th, 
1888.  He  married  Dell  Boone.  His  weight 
is  160  pounds.  Height  5  feet  n  inches.  His 
coloring  is  blonde  as  to  hair  and  complexion 
and  blue  as  to  eyes.  Nice  of  you  to  paste  the 
cute  little  snapshot  of  yourself  on  the  side  of 
your  letter.  I  am  wise  beyond  my  years. 
At  least  wise  enough  never  to  venture  a  guess 
of  a  young  woman's  age.  So  excuse  me.  It 
requires  no  guessing  to  conclude  that  you  have 
good  features  and  a  sense  of  humor.  That 
ghost  of  a  smile  on  the  lips  you  are  trying  to 
make  behave  tells  the  story.  You  don't  call 
that  a  "  dose  of  sarcasm, "  do  you,  Sweet  Alice? 

Kitty,  Philadelphia. — You  want  us  to 
know  that  Philadelphia  is  "still  on  the  map 
and  has  as  many  fans  and  flappers"  as  any 
other  city.  No  doubt.  With  true  civic  pride 
you  seek  further  to  enlighten  us.  You  say 
"Valentino  has  created  quite  a  stir  among 
Philadelphians,    as    well   as    the   dwellers   in 


every  other  place  on  the  map,"  but  they  don't 
seem  very  anxious  to  let  the  fact  be  known. 
At  all  events  one  of  them  has  a  sense  of 
humor.  You  must  have.  By  your  own 
testimony  that  you  "laughed  at  the  dictator 
till  your  sides  ached." 

E.  S.,  Brooklyn,  N.  Y. — To  remain  the 
same  age  for  a  long  time  is  characteristic  of 
some  women  and  a  few  men.  There  is  a  good 
reason  for  this.  A  governor  of  New  York  said 
in  an  address  to  the  National  Federation  of 
Women's  Clubs  "Club  life  has  turned  the 
calendar  back  fifteen  years  for  women." 
Perhaps  the  young  woman  to  whom  you 
allude  belongs  to  clubs.  Or  perhaps  she  is  an 
up-to-date  girl  who  knows  what  to  eat,  how 
much  sleep  and  exercise  to  take,  and  remem- 
bers the  adage  that  comes  to  us  from  England 
"Two  hours  out  of  doors  and  ten  glasses  of 
water  every  day  will  keep  you  well."  Helen 
Jerome  Eddy's  address  is  care  of  Universal, 
Universal  City,  California. 

Jean  Win,  New  York  City. — I  am  not  at 
all  sure  that  Sessue  Hayakawa  will  be  pleased 
to  learn  that  "Sessue  does  not  mean  anything 
to  you  so  you  call  him  George."  We  are  apt 
to  feel  a  strong  partiality  for  the  names  we 
have  inherited  or  have  made  famous.  But  if 
your  first  remark  leaves  a  sting  your  next  will 
leave  sweetness.  Any  actor  would  be  flattered 
to  know  that  his  love  making  seems  "magnifi- 
cently, thrillingly  real"  and  yet  that  it  "is  not 
carnal  love  but  that  kind  of  which  most  women 
dream  and  long  for."  Why  not  write  him 
directly  for  a  photograph  and  repeat  your 
inquiry  as  to  why  he  never  kisses  any  of  the 
women  to  whom  he  makes  screen  love?  He 
might  be  more  willing  to  tell  you  than  he 
would  me.  Men  when  approached  on  such 
a  subject  by  another  man  are  apt  to  say 
"Quit  kidding,  Gotta  match?"  His  pictures 
are  "Five  Days  to  Live,"  "The  Swamp," 
"The  Vermillion  Pencil,"  "The  First  Born," 
"When  Lights  Are  Low,"  "Black  Roses," 
and  "The  Street  of  the  Flying  Dragon." 
Tsura  Oaki  has  been  seen  in  "The  Beckoning 
Flame,"  "Five  Days  to  Live,"  "The  Street  of 
the  Flying  Dragon." 

[  continued  on  page  125  1 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


Close-ups  and  Long  Shots 

[  CONTINUED  FROM  PAGE  58  ] 

The  Menace  of  Aristocracy:  Royalty  and 
society  are  now  vying  with  cabdrivers  and 
cuspidor  cleaners  for  places  on  the  screen. 
Dukes,  debutantes  and  ladies  have  thrown 
their  crowns  in  the  ring  and  bounded  off  for 
Hollywood.  But  so  far,  judging  by  the  tests 
we've  seen  in  news  reels  and  elsewhere,  the 
screen  is  not  attracting  the  right  element  in 
society  and  nobility.  Why  doesn't  someone 
sign  up  the  Prince  of  Wales?  He's  smiled  and 
smiled  for  the  camera  and  all  it's  got  him  is 
crowsfeet.  But  the  real  royal  discovery  in  my 
opinion  is  the  Princess  M afalda  of  Italy,  who 
appeared  in  a  brief  "bit"  on  the  palace  balcony 
after  the  wedding  of  her  sister,  Yolanda.  It  is 
reported  that  she  will  marry  the  heir  to  the 
throne  of  Belgium.  But  what  girl  would 
become  Queen  of  Belgium  if  she  had  a  chance 
of  becoming  Mary  Pickford's  successor?  If 
thrones  don't  start  paying  as  good  salaries  as 
Goldwyn,  something  drastic  will  have  to  be 
done  to  save  Hollywood  from  the  clutch  of 
aristocracy. 


IO9 


The  Sailor's  Holiday:  "Do  you  know  what 
sailors  do  for  a  good  time  when  they  land  in 
New  York?"  Dorothy  Gish  asked.  "They 
rush  as  fast  as  they  can  to  Central  Park,  hire  a 
boat  and  row  madly  around  the  pond  until 
time  to  go  back  to  their  ships." 

The  other  day  I  saw  a  sailor  admiring  a 
picture  of  Dorothy  outside  the  Strand  theater, 
where  "The  Bright  Shawl"  was  playing. 

"  Do  you  know  what  that  girl  does  for  a  good 
time  when  she  gets  a  holiday?"  I  asked  him. 
"She  doesn't  do  a  thing  but  chase  up  and  down 
Broadway  going  to  the  movies." 

"Gawd!"  roared  the  sailor,  "ain't  that  the 
goldfish's  galoshes?" 

Bursting  with  laughter  he  boarded  a  street 
car  for  Central  Park. 

Dedications:  When  Pearl  White  used  to 
dance  between  acts  of  a  cheap  stock  company 
shows  she  wore  a  red,  white  and  blue  costume, 
because,  as  she  sagely  observed,  people  won't 
throw  things  at  the  flag.  Recently  we  have 
had  two  films  which  opened  with  patriotic 
appeals.  "The  Covered  Wagon"  was  dedi- 
cated to  Roosevelt,  and  "The  Bright  Shawl"  to 
McKinley.  "The  Covered  Wagon"  was 
dedicated  to  Roosevelt  not  because  he  drove 
one  but  because  he  had  been  president  and  a 
sort  of  Bill  Hart  of  his  day.  I've  forgotten  why 
"The  Bright  Shawl"  was  dedicated  to 
McKinley,  but  probably  it  was  because  "The 
Covered  Wagon  "  was  dedicated  to  Roosevelt. 
Maybe  McKinley  smoked  Havanas.  The  sub- 
title said  he  was  a  martyred  president.  But  so 
was  Lincoln.  Why  show  partiality?  And, 
besides,  I  never  saw  McKinley  wearing  a  bright 
shawl  whereas  I've  seen  pictures  of  Lincoln 
with  one.  It's  all  very  puzzling  except  for 
motive,  which  plainly  is  to  arouse  the  yahoos 
to  applause.  Such  was  the  technique  of 
I  urlesque  shows  twenty  years  ago,  when  no 
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policy  based  on  the  theory  that  the  male  star 
is  in  greater  demand  than  the  female.  The 
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With  its  March  issue  PHOTODR AM ATIST  of 
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Rawlinson,  William  Desmond,  Roy  Stewart 
and  Jack  Hoxie  as  against  one  woman,  Gladys 
Walton.  Fox  has  an  equally  beefy  menu,  con- 
sisting of  Bill  Russell,  Tom  Mix,  Dustin 
Farnum,  John  Gilbert  and  Charles  Jones,  with 
only  Shirley  Mason  for  dessert.  Paramount's 
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Ingram  has  the  chief  agitator  of  the  hour  in 
Ramon  Novarro.  D.  W.  Griffith  has  made  two 
male  discoveries,  Ivor  Novello  and  Neil 
Hamilton,  but  no  female.  Reginald  Denny  is 
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timers,  such  as  Kerrigan,  Bushman  and 
Costello,  are  staging  comebacks.  Producers 
say  it  is  impossible  to  find  enough  leading  men 
in  Hollywood.  And  salaries  are  shooting 
upward.  Of  the  creme  dc  la  crcmc  Pola  Negri  is 
the  only  feminine  star  who  can  smash  records 
as  violently  as  Chaplin,  Lloyd  and  Fairbanks. 
It's  a  gloomy  outlook,  but  while  we  have  Pola 
and  Mabel  there's  still  a  little  sunshine  in  the 
world  of  us  male  shut-ins. 


The  Girl  Producer 

[  CONTINUED  FROM  PAGE  55  ] 

check  she  would,  too.  It  would  come  by  the 
end  of  the  week.  Meanwhile  she  would  start 
work.    She  had  to  use  that  set! 

Perhaps  no  one  will  ever  learn  just  what 
that  week  meant  to  the  young  producer. 
Almost  everything  happened  that  could 
happen.  People  who  had  assured  her  that 
she  couldn't,  possibly,  hope  for  success,  began 
to  take  an  unwelcome  interest  in  the  pro- 
ceedings. It  looked  to  Grace  as  if  they 
might  want  to  share  in  the  profits  of  what 
looked  like  a  pretty  good  picture.  So  she 
wasn't  surprised  when  she  heard  various 
stories  about  herself:  that  she  was  a  crook, 
that  she  was  a  "nut,"  that  she  ought  to  be  put 
under  observation.  She  encountered  trouble 
in  the  person  of  the  director — and  fired  him. 
Which  made  her  Grace  S.  Haskins — author, 
producer,  director.  The  check  came;  the 
picture  progressed;  came  to  a  smooth  finish. 
All  that  remained  for  her  to  do  was  to  cut, 
edit,  and  title  it! 

Then  she  dashed  east  to  talk  over  her  next 
production  with  her  releasing  company.  She 
intends  to  keep  right  on  producing,  not  always 
filming  her  own  stories,  but  always  as  the 
director.  When  you  see  that  "G.  S.  Haskins 
Presents!"  on  the  screen,  you  may  visualize 
one  hundred  and  twenty-five  sprightly  pounds 
of  energy  and  ambition.  A  little  girl  who  put 
up  a  valiant  fight — and  won.  Incidentally,  she 
didn't  want  anyone  to  know,  at  first,  that  the 
"G"  stood  for  Grace  instead  of  George.  It's 
a  fact,  she  says,  that  people  are  less  likely  to 
put  confidence  in  a  Grace  than  a  George. 
But  she  couldn't  hide  her  identity  very  long; 
and  now  she  has  earned  a  right  to  the  Grace. 

You  ask  her,  "And  after  all  that  hard  work, 
that  fight,  would  you  do  it  all  over  again?" 

And  she  answers,  "Why,  of  course.  It  was 
fun." 


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Dull  Hair 


Noted  actresses  all  abhor  dull  hair 
— they  can't  afford  to  have  it.  They 
have  no  more  choice  in  the  color  of 
their  hair  than  you  have.  Their  hair 
is  more  beautiful,  because  their  pro- 
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Practically  every  woman  has  reason- 
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i  II 


Casts  of  Current  Photoplays 

Complete  for  every  picture  reviewed  in  this  issue 


"THE  RUSTLE  OF  SILK"— Paramount 
— From  the  novel  by  Cosmo  Hamilton. 
Adapted  by  Sada  Cowan  and  Ouida  Bergere. 
Director,  Herbert  Brenon.  Photography  by 
James  Van  Trees.  The  cast:  Lola  de  Breze, 
Betty  Compson;  Arthur  Foliar  ay,  Conway 
Tearle;  Blythe,  Frederick  Esmelton;  Henry  de 
Breze,  Charles  Stevenson;  Lady  Feo,  Anna  Q. 
Nilsson;  Paid  Chalfont,  Cyril  Chadwick. 

"PRODIGAL  DAUGHTERS"  —  Para- 
mount— From  the  novel  by  Joseph  Hocking. 
Scenario  by  Monte  M.  Katterjohn.  Director, 
Sam  Wood.  Photography  by  Alfred  Gilks. 
The  cast:  "Swiftie"  Forbes,  Gloria  Swanson; 
Roger  Corbin,  Ralph  Graves;  Marjory  Forbes, 
Vera  Reynolds;  /.  D.  Forbes,  Theodore 
Roberts;  Mrs.  Forbes,  Louise  Dresser;  Stanley 
Garside,  Charles  Clary;  Lester  Hodges,  Robert 
Agnew;  Connie,  Maude  Wayne;  Juda  Botany  a, 
Jiquel  Lance;  Dr.  Marco  Strong,  Eric  Mayne. 

Y  "THE  NE'ER-DO-WELL"— Paramount 
— From  the  novel  of  the  same  name  by  Rex 
Beach.  Adapted  by  Louis  Stevens.  Director, 
Alfred  E.  Green.  Photography  by  Ernest 
Haller.  The  cast:  Kirk  Anthony,  Thomas 
Meighan;  Chiquita,  Lila  Lee;  Edith  Cortlandt, 
Gertrude  Astor;  Stephen  Cortlandt,  John  Mil- 
tern;  Andres  Garavel,  Gus  Weinberg;  Ramon 
Alfarez,  Sid  Smith;  Clifford,  George  O'Brien; 
Allen  Allan,  Jules  Cowles;  Runnels,  Laurance 
Wheat. 

"YOU  CAN'T  FOOL  YOUR  WIFE"— 
Paramount — Story  and  scenario  by  Waldemar 
Young.  Director,  George  Melford.  Photo- 
graphy by  Bert  Glennon.  The  cast:  Edith 
McBride,  Leatrice  Joy;  Ardrita  Saneck,  Nita 
Naldi;  Garth  McBride,  Lewis  Stone;  Vera 
Redell,  Pauline  Garon;  Dr.  Konrad  Saneck, 
Paul  McAllister;  Jackson  Redell,  John  Daly 
Murphy;  Lillian  Redell,  Julia  Swayne  Gordon; 
Russell  Fenton,  Tom  Carrigan;  John  Yates, 
Dan  Pennell. 

"THE  GO-GETTER"  —  Paramount- 
Cosmopolitan — Story  by  Peter  B.  Kyne. 
Scenario  by  John  Lynch.  Director,  E.  H. 
Griffith.  Photography  by  Harold  Wenstrom. 
The  cast:  Bill  Peck,  T.  Roy  Barnes;  Mary 
Skinner,  Seena  Owen;  Cappy  Ricks,  William 
Norris;  Charles  Skinner,  Tom  Lewis;  Jack 
Morgan,  Fred  Santley;  Samuel  Silver,  Louis 
Wolheim;  Joe  Ryan,  John  Carr;  Felix  Heinz, 
Ed.  Rosoman;  Bridget  McPhee,  Dorothy  Wal- 
ters; Tillie  Waile,  Dorothy  Allen;  Hugh  Mc- 
Nair,  Frank  Currier. 

"THE  NTH  COMMANDMENT"— Para- 
mount-Cosmopolitan— By  Fannie  Hurst. 
Scenario  by  Frances  Marion.  Director,  Frank 
Borzage.  Photography  by  Chester  Lyons. 
The  cast:  Sarah  Juke,  Colleen  Moore;  Harry 
Smith,  James  Morrison;  Jimmie  Fitzgibbons, 
Eddie  Phillips;  Angine  Sprunt,  Charlotte 
Merriam;  Max  Piute,  George  Cooper. 

"THE  GIRL  I  LOVED  "—United  Artists 
Corp. — From  the  poem  of  the  same  name  by 
James  Whitcomb  Riley.  Adapted  by  Albert 
Ray.  Director,  Joseph  De  Grasse.  Photo- 
graphy by  George  Rizard.  The  cast:  John 
Middleton,  Charles  Ray;  Mary,  Patsy  Ruth 
Miller;  Willie  Brown,  Ramsey  Wallace;  Mother 
Middleton,  Edyth  Chapman;  Neighbor  Silas 
Gregg,  William  Courtwnght;  Betty  Short,  Char- 
lotte Woods;  Neighbor  Perkins,  Gus  Leonard; 
Hired  Man,  F.  B.  Phillips;  Minister  {Circuit 
Rider),  Lon  Poff;  Hiram  Lang,  Jess  Herring; 
Ruth  Lang,  Ruth  Bolgiano;  Tke  Judge,  Edward 
Moncrief;  The  Organist,  George  Marion;  A 
Spinster,  Billie  Latimer. 


"WITHIN  THE  LAW"— First  National 
— Adapted  by  Frances  Marion.  From  the 
stage  play  by  Bayard  Veiller.  Personally 
directed  by  Frank  Lloyd.  The  cast:  Mary 
Turner,  Norma  Talmadge;  Joe  Garson,  Lew 
Cody;  Dick  Gilder,  Jack  Mulhall;  Aggie  Lynch, 
Eileen  Percy;  Edward  Gilder,  Joseph  Kilgour; 
Demarest,  Arthur  S.  Hull;  Helen  Morris,  Helen 
Ferguson;  Cassidy,  Lincoln  Plummer;  General 
Hastings,  Thomas  Ricketts;  English  Eddie, 
Ward  Crane;  Gilder's  Secretary,  Catherine 
Murphy;  Burke,  Dewitte  Jennings. 

"THE  BRIGHT  SHAWL"— First  Na- 
tional -  Inspiration  —  By  Joseph  Herges- 
heimer.  Scenario  by  Edmund  Goulding. 
Director,  John  S.  Robertson.  The  cast:  Charles 
Abbott,  an  American,  Richard  Barthelmess; 
Andres  Escobar,  a  young  Cuban  patriot,  Andre 
de  Beranger;  Domingo  Escobar,  his  father,  also 
a  patriot,  E.  G.  Robinson;  Carmmcita  Escobar, 
his  wife,  Andres'  mother,  Margaret  Seddon; 
Narcissa  Escobar,  their  daughter,  Andres'  sister, 
Mary  Astor;  Vincente  Escobar,  Andres'  elder 
brother,  Luis  Alberni;  Cesar  Y  Santacilla,  a 
Spanish  Captain,  Anders  Randolf;  Caspar  De 
Vaca,  also  a  Spanish  Captain,  William  Powell; 
La  Clavel,  an  Andalusian  dancer,  Dorothy 
Gish;  La  Pilar,  a  spy,  Jetta  Goudal;  Jaime 
Quintara,  a  friend  of  the  Escobars,  George 
Humbert. 

"THE  AFFAIRS  OF  LADY  HAMILTON" 
— W.  W.  Hodkinson — Produced  by  Richard 
Oswald.  From  "Life  and  Loves  of  Lady 
Hamilton"  and  "Lord  Nelson's  Last  Love." 
The  cast:  Lady  Hamilton,  Liane  Haid;  Hor- 
atio Nelson,  Conrad  Veidt;  Sir  William  Ham- 
ilton, Werner  Kraus;  Queen  Maria  Carolina, 
Else  Heims;  King  Ferdinand  of  Naples,  Rein- 
hold  Schunzel;  Arabella  Kelly,  Gertrude 
Welcker;  George  Romney,  Theodor  Loos; 
Charles  Francis  Greville,  Anton  Pointner; 
Josiah  Nesbit,  Hanac  Heinz  v.  Twardowski; 
Jane  Hailing,  Kate  Waldeck;  Dr.  Graham, 
Hugo  Doblin;  Captain  Hart  (Tug),  Friedrich 
Kuhne;  Capt.  Sir  John  Willet  Payne,  Heinrich 
George;  Tom  Kid,  Louis  Ralph. 

"TEMPTATION"— C.  B.  C.  Film  Sales 
Corp. — Story  by  Lenore  Coffee.  Director, 
Ed.  J.  Le  Saint.  The  cast:  Jack  Baldwin, 
Bryant  Washburn;  Marjorie,  his  wife,  Eva 
Novak;  Mrs.  Martin,  a  widow,  June  Elvidge; 
Frederick  Arnold,  a  broker,  Phillips  Smalley; 
John  Hope,  his  friend,  Vernon  Steele. 

"WESTBOUND   LIMITED  — 

Film  Booking  Offices — An  Emory  Johnson 
Production.  Story  and  Scenario  by  Mrs. 
Emilie  Johnson.  Photography  by  Ross  Fisher. 
The  cast:  Bill  Buckley,  Ralph  Lewis;  Mrs. 
Buckley,  Claire  McDowell;  Esther  Miller,  Ella 
Hall;  Johnny  Buckley,  Johnny  Harron;  Henry, 
Taylor  Graves;  Raymond  McKim,  Wedgewood 
Nowell;  Jack  Smith,  David  Kirby;  Bernard 
Miller,  Richard  Morris;  Mrs.  Miller,  Jane 
Morgan. 

"THE  REMITTANCE  WOMAN"— Film 
Booking  Offices — From  the  story  by  Ach- 
med  Abdulah.  Scenario  by  Carol  Warren. 
Director,  Wesley  Ruggles.  Photography  by 
Joseph  Du  Bray.  The  cast:  Marie  Camp- 
bell, Ethel  Clayton;  George  Holt,  Rockliffe 
Fellows;  Moses  D'Acosta,  Mario  Carillo;  Tsang 
Tse,  Frank  Lanning;  Higginson,  Tom  Wilson; 
Liu  Po-Yat,  Etta  Lee;  Chucn-To-Yat,  James 
B.  Leong;  Anthony  Campbell,  Edward  Kimball; 
Sun-Yu-Wen,  Toyo  Fugita. 

"HER  FATAL  MILLIONS"  —  Metro  — 
Story  by  William  Dudley  Pelley.  Adapted 
by  Arthur  Statter.     Director,  William  Beau- 


SJ/  rjUdbCJJUU' 

jT^NOWN  only  to  the  ladies  of  a 
£\  certain  noble  family  of  Floren- 
\^_jtine  days  was  a  magic  skin  w 
formula — its  use  rendering 
them  pre-eminent  in  courdy  circles  be 
cause  of  their  transcendent  beauty  of 
complexion.  Mysterious  and  wonder- 
ful! What  could  it  be?  Science  has  dis- 
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SEM-PMY 
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Sent  pre 
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Sem-pray  fo-ve-nay  is  to  the  skin  what  the 
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dine.  Photography  by  John  Arnold.  The 
cast:  Mary  Bishop,  Viola  Dana;  Fred  Gar- 
rison, Huntly  Gordon;  Lew  Cor  mod y,  Allan 
Forrest;  Louise  Carmody,  Peggy  Brown;  Amos 
Bishop,  Edward  Connelly;  Mary  Applcwin, 
Kate  Price;  Landlady,  Joy  Winthrop. 

"AN  OLD  SWEETHEART  OF  MINE"— 
Metro — Produced  by  Harry  Garson.  From 
James  Whitcomb  Riley's  poem.  Screen 
adaptation  by  Louis  Duryea  Lighton;  Photog- 
raphy by  L.  William  Collins.  The  cast:  John 
Craig,  as  a  boy,  Pat  Moore;  John  Craig,  as  a 
man,  Elliott  Dexter;  Alary  Ellen  Anderson,  as 
a  girl,  Mary  Jane  Irving;  Mary  Ellen  Anderson, 
grown  up,  Helen  Jerome  Eddy;  Stuffy  Shade, 
as  a  boy.  Turner  Savage;  Stuffy  Shade,  grown 
up,  Lloyd  Whitlock;  Irene  Ryan,  Stuffy's 
cousin,  Barbara  Worth;  Frederick  McCann, 
Arthur  Hoyt;  William  Norton,  Jean  Cameron. 

"TRAILING  AFRICAN  WILD  ANI- 
MALS— Metro — Mr.  and  Mrs.  Martin  John- 
son's picture. 

"SOUL  OF  THE  BEAST"— Metro— 
By  C.  Gardner  Sullivan.  Directed  by  John 
Griffith  Wray.  Under  the  personal  super- 
vision of  Thomas  H.  Ince.  The  cast:  Ruth 
Lorrimore,  Madge  Bellamy;  Paul  Nadeau, 
Cullen  Landis;  Caesare,  Noah  Beery;  Jacque- 
line, Vola  Vale;  Pcre  Boussut,  Harry  Ratten- 
burry;  Mrs.  Boussut,  Carrie  Clark  Ward;  Silas 
Ilamm,  Bert  Sprotte;  Henri,  Lincoln  Stedman; 
Policeman,  Larrie  Steers;  "Oscar,"  the  elephant, 
By  Himself;  The  Boob,  Vernon  Dent. 

"A    NOISE    IN    NEWBRO"— Metro— 

From  the  story  by  Edgar  Franklin.  Adapted 
by  Rex  Taylor.  Director,  Harry  Beaumont. 
Photography  by  John  Arnold.  The  cast: 
Martha  Mason,  Viola  Dana;  Ben  Colwell, 
David  Butler;  Anne  Paisley,  Eva  Novak; 
Buddy  Wayne,  Allan  Forrest;  Leila  Wayne, 
Betty  Francisco;  Eben  Paisley,  Alfred  Allen; 
Harry  Dixon,  Malcolm  McGregor;  Dorothy 
Mason,  Joan  Standing;  "Dad"  Mason,  Bert 
Woodruff. 

"CORDELIA  THE  MAGNIFICENT"— 

Metro — From  the  novel  by  Leroy  Scott. 
Adapted  by  Frank  S.  Beresford.  Director, 
George  Archainbaud.  Photography  by  Charles 
Richardson.  The  cast:  Cordelia  Marlowe, 
Clara  Kimball  Young;  D.  K.  Franklin,  Huntly 
Gordon;  Esther  Norworth,  Carol  Halloway; 
Jerry  Plimpton,  Lloyd  Whitlock;  Gladys 
Northworth,  Jacqueline  Gadsdon;  James  Mit- 
chell Grayson,  Lewis  Dayton;  Francois,  Mary 
Jane  Irving;  "Jackie"  Thomdyke,  Katherine 
Murphy;  Mrs.  Marlowe,  Elinor  Hancock. 

"THE  GIRL  WHO  CAME  BACK"— 
Preferred — A  Tom  Forman  Production.  By 
Charles  E.  Blaney  and  Samuel  Ruskin  Gold- 
ing.  Adapted  by  Evelyn  Campbell.  Photog- 
raphy by  Harry  Perry.  The  cast:  Sheila, 
Miriam  Cooper;  Ray  Underbill,  Gaston  Glass; 
Norries,  Kenneth  Harlan;  Convict  565,  Joseph 
Dowling;  Valdays,  Fred  Malatesta;  Belle 
Bryant,  Ethel  Shannon;  Anastasia  Muldoon, 
Za  Su  Pitts. 

"  VENGEANCE  OF  THE  DEEP  "—Amer- 
ican Releasing  Corp. — Story  by  A.  B.  Bar- 
ringer.  Scenario  by  J.  L.  Lamothe  and  Agnes 
Parsons.  Director,  A.  B.  Barringer.  Photog- 
raphy by  Paul  Ivan,  William  McGann  and 
Homer  Scott.  The  cast:  Captain  Musgrove, 
Ralph  Lewis;  Ethel  Musgrove,  Virginia  Brown 
Faire;  Jean,  Van  Mattimore;  Frederico,  Har- 
mon McGregor;  Tagu,  William  Anderson; 
Native  Chief,  "Smoke"  Turner;  Kiliki,  Maida 
Vale. 

"BAVU" — Universal — From  the  stage 
play  of  the  same  name  by  Earl  Carroll. 
Scenario  by  Raymond  L.  Schrock  and  Albert 
G.  Kenyon.  Director,  Stuart  Paton.  Photog- 
raphy by  Allen  Davey.  The  cast:  Felix 
Bavu,  Wallace  Beery;  Princess  Annia,  Estelle 
Taylor;  Mischka  Vlcck,  Forrest  Stanley;  Olga 


Stropik,  Sylvia  Breamer;  Prince  Markoff, 
Josef  Swickard;  Kuroff,  Nick  De  Ruiz;  Pip- 
letle,  Martha  Mattox;  Shadow,  Harry  Carter; 
Michael  Revno,  Jack  Rollens. 

"FOOLS  AND  RICHES"— Universal— 
By  Frederick  Jackson.  Scenario  by  Charles 
Kenyon  and  George  C.  Hull.  Director,  Her- 
bert Blache.  The  cast:  Jimmy  Dorgan, 
Herbert  Rawlinson;  Nellie  Blye,  Katherine 
Perry;  John  Dorgan,  Tully  Marshall;  Bernice 
Lorraine,  Doris  Pawn;  Dick  McCann,  Arthur 
S.  Hull;  Frasconi,  Nickolai  De  Ruiz 

"WHAT  WIVES  WANT"— Universal— 
By  Edward  T.  Lowe,  Jr.  and  Perry  N.  Vekroff . 
Scenario  by  Edward  T.  Lowe,  Jr.  Director, 
Jack  Conway.  The  cast:  Claire  Howard, 
Ethel  Grey  Terry;  Austin  Howard,  Vernon 
Steele;  John  Reeves,  Ramsey  Wallace;  David 
Loring,  Niles  Welch;  Alice  Loring,  Margaret 
Landis;  Mrs.  Van  Dusen,  Lila  Leslie;  Newharl, 
Harry  A.  Burrows. 

"TRIFLING  WITH  HONOR"— Univer- 
sal— By  William  Slavin  McNutt.  Scenario 
by  Frank  Beresford  and  Raymon  L.  Schrock. 
Director,  Harry  Pollard.  The  cast:  Gas- 
Pipe  Kid — Bat  Shugrue,  Rockliffe  Fellows; 
Ida  Hunt,  Fritzi  Ridgeway;  Jimmy  Hunt, 
Buddy  Messinger;  Kelsey  Lewis,  Hayden 
Stevenson;  Judge.  Drury,  Emmett  King; 
Warden,  William  Welsh;  Lute  Clotz,  Frederick 
Stanton;  The  Kid's  Father,  William  Robert 
Daly;  Murray  Jcssop,  Jim  Farley;  Dud  Adams, 
Sydney  De  Grey;  Jimmy,  at  eight  years,  John 
Hatton. 

^"THE  ABYSMAL  BRUTE"— Universal 
— By  Jack  London.  Scenario  by  A.  P. 
Younger.  Directed  by  Hobart  Henley. 
Photography  by  Charles  Stumar.  The  cast: 
Pat  Glendon,  Jr.,  Reginald  Denny;  Marion 
Songster,  Mabel  Julienne  Scott;  Pat.  Glendon, 
Sr.,  Charles  French;  Sam  Stubener,  Hayden 
Stevenson;  Mortimer  Songster,  DavidTorrence; 
Wilfred  Songster,  George  Stewart;  Buddy 
Songster,  Buddy  Messenger;  Dcane  Warner, 
Crauford  Kent;  Gwendolyn,  Irene  Haisman; 
Mrs.  MacTavish,  Dorothea  Wolbert;  Violet 
MacTavish,  Julia  Brown;  Daisy  Emerson, 
Nell  Craig;  Farrcll,  Will  R.  Walling;  Tommy 
Moran,  Tom  McGuire;  Abe  Levinsky,  Harry 
Mann. 

"DEAD  GAME"  — Universal  — Story, 
scenario  and  direction  by  Edward  Sedgwick. 
Photography  by  Charles  Kaufman.  The  cast: 
"Katy"  Didd,  Edward  (Hoot)  Gibson;  Tetlow, 
Robert  McKim;  Jenks,  Harry  Carter;  Alice, 
Laura  La  Plante. 

"CROSSED  WIRES"— Universal— Story 
by  King  Baggott.  Scenario  by  Hugh  Hoff- 
man. Director,  King  Baggott.  Photograph}'  , 
by  Ben  Kline.  The  cast:  Marcel  Murphy. 
Gladys  Walton;  Ralph  Benson,  George  Stew- 
art; Bellany  Benson,  Tom  S.  Guise;  Mrs.  Ben- 
son, Lillian  Langdon;  Pat  Murphy,  William 
Robert  Daly;  Nora  Murphy,  Kate  Price;  Tim 
Flanagan,  Eddie  Gribbon;  Madalyn  Van 
Ralston  Kent,  Marie  Crisp;  Annie,  Eloise 
Nesbit. 

"LOVEBOUND"— Fox— Story  by  George 
Scarborough.  Director,  Henry  Otto.  The 
cast:  Bess  Belwyn,  Shirley  Mason;  John  Mob- 
ley,  Albert  Roscoe;  Paul  Meredith,  Richard 
Tucker;  David  Belwyn,  Joseph  Girard;  Stephen 
Barker,  Edward  Martindale;  Detective  Ilahn, 
Fred  Kelsey 

"THE  MADNESS  OF  YOUTH"— Fox- 
Story  by  George  F.  Worts.  Scenario  by  Joseph 
Franklin  Poland.  Director,  Jerome  Storm. 
The  cast:  Jaca  Javalie,  John  Gilbert;  Nanette 
Banning,  Billie  Dove;  Peter  Reynolds,  Donald 
Hatswell;  Ted  Banning,  George  K.  Arthur; 
Theodore  P.  Banning,  Wilton  Taylor;  Mme. 
Jeanne  Banning,  Ruth  Boyd;  Mason  (Butler), 
Luke  Lucas;  Louise,  Dorothy  Manners. 

[  CONTINUED  ON  PAGE  1 25  ] 


Every  advertisement  in  TIIOTOrLAY  MAGAZINE  is  guaranteed. 


.  Photoplay  Magazine — Advertising  Section 

The  Romantic  History 
of  the  Motion  Picture 


[  CONTINUED  FROM  PAGE  43  ] 

grist  of  the  Biograph  mill. 

Mary  was  soon  an  established  member  of  the 
Biograph  family.  They  gathered  at  lunch 
about  a  rough  table  in  the  basement  of  the  old 
mansion  at  n  East  Fourteenth  street  to  eat 
sandwiches  rustled  from  an  adjacent  saloon 
lunch  counter  by  Bobby  Harron,  custodian  of 
properties,  general  utility  person  and  errand- 
boy-at-large. 

A  considerable  part  of  the  art  of  the  motion 
picture  was  evolved  in  the  lunch  table  discus- 
sion between  the  actors,  cameramen  and  Grif- 
fith, the  experimenting  director.  The  talk  was 
pictures,  pictures,  everlastingly  pictures. 
Everything  was  new  then  and  many,  many 
things  had  yet  to  be  tried.  There  were  debates 
about  close-ups  and  cut  backs  and  all  of  those 
bits  of  camera  technique  that  had  been  evolved 
by  the  pioneers  and  that  Griffith  was  now 
making  a  part  of  the  art  of  telling  a  dramatic 
story  on  the  screen. 

Griffith's  pictures  were  conspicuous  for  the 
way  in  which  be  brought  the  action  up  close  to 
the  camera,  frequently  cutting  off  the  actor's 
feet  at  the  bottom  of  the  pictures.  This  was 
considered  by  many  of  his  critics  as  a  terrible 
piece  of  barbarity.  No  doubt  some  of  the  more 
conservative  producers  felt  that  it  was  waste 
of  good  money  to  hire  an  actor  and  then  not 
photograph  all  of  him  in  the  picture. 

The  very  simplest  elements  of  motion  picture 
story  telling  and  the  evolution  of  the  use  of  the 
camera  as  an  instrument  of  expression  rather 
than  of  mere  record  all  had  to  be  tediously 
established.  And  some  of  the  old  fetishes  of 
early  day  motion  picture  superstition  still  sur- 
vive. As  late  as  1922  one  of  the  leading  English 
producers  informed  the  writer  that  he  held  it  a 
serious  mistake  to  have  any  character  appear 
on  the  screen  without  entering  the  scene  full 
length,  feet  and  all. 

TN  these  early  experimental  days  Mack  Sen- 
-*-nett  was  an  untiring  student  of  picture  tech- 
nique, following  every  step  that  Griffith  took. 
When  no  better  provocation  offered  he  carried 
the  camera  to  be  among  those  present. 

When  the  supply  of  scenarios  to  his  liking 
failed  Griffith  often  called  for  suggestions  from 
the  company. 

"Fifteen  dollars  for  the  best  split  reel  com- 
edy idea!"  was  a  welcome  announcement. 

With  pencils  and  paper,  twisting  their 
tongues  and  scratching  their  heads  like  school- 
boys laboring  over  a  slate,  the  Biograph  actors 
could  be  found  in  all  corners  of  the  studio  try- 
ing to  erupt  with  screen  ideas. 
_  Just  one  thing  was  inevitable  in  these  ses- 
sions— Mack  Sennett  would  come  forward  with 
a  policeman  scenario.  It  is  not  on  record  that 
Sennett  ever  sold  one  to  Griffith,  but  he  per- 
sisted with  a  patience  that  made  Sennett's 
policeman  comedy  scenario  the  best  standing 
joke  of  the  studio. 

"Laugh  at  my  comedy  if  you  want  to,  but 
I'm  going  to  make  the  policemen  famous," 
Sennett  insisted. 

And  all  who  remember  the  Keystone  cops 
that  eventually  came  forth  under  Sennett's 
direction  some  years  later  will  admit  that 
Mack  made  good  his  threat.  It  would  seem 
probable  that  the  extreme  violence  of  Sennett's 
Keystone  cop  comedy  resulted  from  his  early 
repressions  and  discouragements  at  Biograph. 

But  Mary  Pickford  was  a  rather  more  suc- 
cessful contributor  of  scenarios.  She  was  the 
author  of  a  surprising  number  of  the  early 
Griffith  Biograph  pictures.  Among  Mary's 
scenarios  were  several  which  will  perhaps 
linger  in  the  memory  of  some  of  the  old  follow- 
ers of  the  screen,  including  "The  Awakening," 
featuring  Arthur  Johnson,  "Getting  Even." 
with  James  Kirkwood,  "Caught  in  the  Act," 
"Lena  and  the  Geese,"  "The  Alien,"  "Gran- 
ny," in  which  Lottie  Pickford  played,  "Fate's 
Decree"  and  "The  Girl  of  Yesterday." 


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Doubtless  the  rich  cventfulness  of  Mary 
Pickford's  experience  in  road  show  melodrama 
gave  her  a  fund  of  that  special  sort  of  material 
which  Griffith  desired. 

In  this  wonderful  school  of  the  motion  pic- 
ture Mary  grew  up  with  the  art  of  picture  mak- 
ing itself,  learning  it  as  fast  as  it  evolved,  and 
herself  contributing  to  its  evolution. 

The  world  prefers  to  think  of  Miss  Pickford 
as  the  pretty  little  girl  with  the  curl,  pursuing  a 
dramatic  pictorial  destiny  through  a  pollyana 
world  of  just-so  arrangements.  But  in  point  of 
truth  she  is  as  diligent  a  student  of  her  business 
as  any  office-prisoned  executive,  dour  with  the 
weight  of  his  responsibilities. 

No  doubt  the  world  prefers  to  believe  that 
Man-  Pickford's  success  has  been  a  resultant 
of  luck,  curls  and  cunning  sweet  girl  ways.  But 
half  a  hundred  girls  with  more  beauty,  just 
as  much  luck  and  equally  cunning  ways,  have 
striven  in  vain  for  a  share  in  Mary's  niche  of 
fame.  There  must  be  something  to  credit  to 
that  famous  old  formula  of  some  brains  and  a 
lot  of  hard  work. 

TriE  coming  of  Mary  Pickford  with  the  halo 
■*-  of  "a  Belasco  actor"  about  her,  and  James 
Kirkwood  and  Henry  Walthall,  as  players  of 
note  in  "the  legitimate,"  gave  Biograph's  stock 
company  a  sensation  of  a  new  dignity  for  the 
art  of  the  motion  picture.  It  began  to  be  felt 
about  the  studio  that  the  day  would  come  be- 
fore long  when  they  might  admit  to  their 
friends  that  they  were  working  for  the  screen. 

This  same  season  of  '09  added  other  names  of 
subsequent  renown  to  the  growing  roster  of 
picture  players.  Over  at  the  busy  Vitagraph 
plant  in  Flatbush  a  photographer  suggested  to 
J.  Stuart  Blackton  that  he  knew  "the  prettiest 
girl  in  New  York." 

"She  is  posing  for  style  pictures  for  the 
Butterick  people.  They  use  them  in  The 
Delineator,"  the  photographer  confided. 

"Bring  her  over." 

And  that  was  Mabel  Normand's  introduc- 
tion to  the  motion  picture  stage.  She  was  not 
an  exciting  success  at  Vitagraph,  however,  and 
before  long  came  back  to  Manhattan  to  join 
the  Biograph  stock  company  and  make  the 
acquaintance  of  Mack  Sennett,  the  young  man 
who  wanted  to  make  comedies  with  policemen 
in  them. 

An  almost  identical  agency  brought  Alice 
Joyce,  also  a  photographers'  model,  employed 
by  Davis  and  Sanford,  to  the  service  of  Kalem. 
Kalem  was  making  "westerns"  in  the  authen- 
tic badlands  of  New  Jersey  at  Coytsville. 

"Can  you  ride?  It  would  be  worth  ten  dol- 
lars a  day  if  you  could,"  the  director  suggested. 

"I  couldn't  do  it  if  mother  didn't  need  the 
money,"  Miss  Joyce  responded.  She  was  a 
practical  sort.  She  began  her  working  life  at 
thirteen  as  a  telephone  operator. 

Obscurely  and  with  no  vision  of  the  brilliant 
future  ahead,  Norma  Talmadge,  a  high  school 
girl,  attracted  by  the  gossip  of  the  "movies" 
went  to  the  "yard"  at  the  Vitagraph  plant  in 
Flatbush  and  was  chosen  from  out  of  the 
throng  for  an  extra  bit  in  some  unknown  pic- 
ture. 

One  of  her  earliest  appearances  was  a  trifling 
comedy  drama  of  one  reel  entitled  "The 
Household  Pest"  and  built  around  the  then 
less  hackneyed  humor  of  a  camera  fiend. 
Throughout  the  entire  picture  Norma's  face 
did  not  appear.  She  was  always  to  be  dis- 
covered on  the  scene  with  her  head  under  a 
focusing  cloth. 

Maurice  Costello,  now  the  dean  and  veteran 
of  the  Vitagraph  stock  company,  pleaded 
Norma's  cause  the  day  it  was  decided  she 
would  never  be  an  actress. 

Perhaps  because  he  wanted  to  humor  "Cos," 
or  maybe  because  he  felt  the  force  of  argument, 
Van  Dyke  Brooke,  the  director,  cast  her  for  a 
part  opposite  Costello  in  "The  First  Violin," 
an  ambitious  two  reel  subject,  one  of  the  few 
that  were  made  in  that  period. 

Not  long  thereafter  Norma  Talmadge  ap- 
peared with  marked  success  in  Vitagraph's 
"Tale  of  Two  Cities,"  riding  the  tumbril  to  the 
guillotine  with  Maurice  Costello  in  the  role  of 

Every  advertisement  in  PHOTOrLAV  MAGAZINE  Is  guaranteed. 


Sidney  Carton,  under  the  direction  of  J.  Stuart 
Blackton.  This  picture  because  of  its  forceful 
character  is  most  often  but  erroneously  re- 
called as  Miss  Talmadge's  first  screen  appear- 
ance. Stars  and  their  directors  often  tend  to 
forget  their  more  obscure  and  minor  begin- 
nings. 

With  the  success  of  this  picture  Miss  Tal- 
madge's period  of  probation  came  to  an  end. 
Costello  was  vindicated  and  it  was  admitted 
that  after  all  she  was  an  actress. 

Over  in  Philadelphia  the  I.ubin  studio  ac- 
quired Harry  Myers  and  Rosemary  Theby,  as 
additions  to  the  roster  of  stars-to-be. 

Down  in  Florida  the  Kalem  company,  mov- 
ing south  to  escape  the  New  York  winter, 
pioneered  the  motion  picture  history  of  Jack- 
sonville, which  continued  for  some  years  to 
overshadow  Los  Angeles  as  the  studio  capital. 
Kalem  was  still  running  strongly  to  outdoor 
action  dramas,  inspired  by  the  low  cost  and 
high  profits  of  the  Coytsville  wild  west  sub- 
jects. 

In  the  making  of  one  of  these  pictures  Sid 
Olcott  encountered  John  P.  McGowan,  an 
adventuring  person  of  parts  who  had  seen 
service  as  a  dispatch  rider  in  the  Boer-British 
war.  McGowan  became  a  picture  actor  be- 
cause he  could  shoot  a  rabbit  on  the  run  from 
the  back  of  a  galloping  horse — a  highly  essen- 
tial piece  of  business  in  the  making  of  Kalem's 
"  Seth's  Temptation." 

And,  while  Kalem  was  experimenting  with 
the  sunshine  of  Florida,  J.  Searle  Dawley  of  the 
Edison  company,  enthused  with  the  eloquences 
of  J.  Parker  Reed,  a  free  lance  who  had  offered 
countless  scenarios  with  a  West  Indian  setting, 
took  a  company  to  Cuba,  seeking  winter  sun- 
shine. 

The  motion  picture  world  was  widening  its 
horizons.  It  had  outgrown  the  little  rooftop 
studios  of  Manhattan,  and  now  was  fairly 
started  toward  making  in  reality  "all  the  world 
a  stage."  As  a  measure  of  progress  we  can 
look  back  from  this  the  first  year  of  Mary 
Pickford  to  that  distant  beginning  in  18Q4 
when  Annabelle  and  Carmencita  danced  for 
the  peep  show  kinetscope  at  Edison's  tarpaper 
studio,  the  old  Black  Maria. 

TT  was  just  fifteen  years  from  the  beginning 
-•-and  Carmencita  to  Mary  Pickford.  It  is  just 
fourteen  years  now  from  Mary  Pickford's  be- 
ginning to  today,  1923.  In  the  first  fifteen 
years  the  motion  picture  grew  from  a  fifty-foot 
novelty  of  pictures  that  moved  to  a  one 
thousand  foot  story  in  motion  pictures.  In 
the  fourteen  years  that  have  followed  the  one 
reel  story  has  grown  to  a  full  evening's  enter- 
tainment of  perhaps  eight  thousand  feet  and 
relatively  a  vast  deal  of  perfection  in  the  tell- 
ing. There  is  a  thought  for  the  impatient 
critics  of  the  screen. 

The  era  marked  in  the  public  and  lay  mind 
by  the  coming  of  Mary  Pickford  and  the  first 
faint  twinklings  of  star  dust  in  the  motion 
picture  sky  also  included  an  equally  romantic 
but  much  more  complicated  business  develop- 
ment. Here  as  in  every  successive  forward 
step  of  the  screen  we  find  the  art  of  the  mo- 
tion picture  and  the  business  of  the  motion 
picture  proceeding  in  parallel  and  often  en- 
tangling steps. 

It  was  in  part  the  sustaining  force  of  a  better 
product  from  the  studios  with  the  coming  of 
Griffith  that  enabled  Kennedy  and  Marvin  to 
force  their  peace  upon  Edison  and  cause  the 
formation  of  the  Motion  Picture  Patents  Com- 
pany, and  in  turn  it  was  the  better  condition 
of  the  business  under  the  peace  of  the  Patents 
Company  that  enabled  Griffith  to  spend  Bio- 
graph money  for  his  experimental  efforts 
toward  the  betterment  of  the  art. 

But  after  all  the  peace  that  ended  the  patents 
war  on  December  18,  1908,  was  a  brief  one. 

There  were  many  mutterings  and  rumblings 
in  the  motion  picture  trade  about  the  secret 
sessions  and  negotiations  which  we  have  seen 
in  the  approach  to  the  patents  combine.  It 
seems  to  be  true  in  all  history  that  the  spark 
that  kindles  the  lamp  of  authority  always  also 
fires  the  fagots  of  rebellion. 


Photoplay  Magazine — Advertising  Section 


On  January  9,  igog,  the  Motion  Picture 
I'atents  Company  issued  to  the  motion  picture 
trade  a  circular  letter  of  announcement,  in 
which  it  set  forth  the  fact  that  it  controlled 
and  owned  all  of  the  patents  under  which 
motion  pictures  could  be  made  and  sold  and 
shown,  and  proposed  forthwith  to  issue 
licenses  to  the  various  agencies  of  the  trade, 
the  film  exchanges  and  the  theaters. 

This  announcement  set  rather  modest  fees 
on  licenses  for  projection  machines,  at  the  rate 
of  two  dollars  a  week  per  machine,  and  rela- 
tively small  sums  for  the  exchanges.  There- 
after all  film  was  to  be  leased,  not  sold,  and  to 
be  returned  to  the  makers  after  a  given  period. 
It  was  announced  that  all  existing  exchanges 
except  a  few  flagrant  "dupers,"  pirates,  and 
violators  of  trade  law,  would  be  licensed,  that 
all  theaters  then  in  operation  would  be 
licensed,  and  that  thereafter  the  Patents  Com- 
pany would  control  the  business  for  its  own 
good  and  refuse  licenses  where  further  com- 
petition in  any  location  was  deemed  de 
structive. 

The  announcement  confirmed  the  rumbling 
rumors  of  the  "trust." 

A  roar  arose  from  New  York  bay  to  the 
Golden  Gate. 

The  motion  picture,  then  as  now,  contained 
a  large  number  of  persons  constitutionally 
opposed  to  discipline.  It  was  a  popular  notion 
that  all  "trusts"  were  evil,  and  that  this 
motion  picture  trust  was  more  especially  evil. 

The  fact  that  the  best  interests  of  the  mo- 
tion picture  and  the  public  cried  to  high 
heaven  for  some  such  hand  of  discipline  did 
not  appeal  to  the  protestors.  They  could  see 
nothing  but  the  selfishness  of  the  "trust." 
They  could  see  none  of  the  purposes  of  com- 
mon decency  in  the  men  who  had  organized 
the  motion  picture  business  to  save  it. 

But  those  who  cried  out  against  the  trust 
were  not  pleading  the  righteous  cause  of  a  new 
art,  they  were  screaming  for  the  privilege  of 
making  money  in  free  competition  with  the 
men  who  brought  the  motion  picture  into 
being. 

Perhaps  it  takes  a  certain  amount  of  fool- 
hardy courage  for  a  writer  to  reverse  the 
United  States  Supreme  Court,  but  it  is  in  the 
opinion  of  the  writer  rather  obvious  that  the 
motion  picture  properly  belonged  to  Edison, 
Latham,  the  Biograph  group,  Armat  and  such 
persons  or  concerns  as  they  desired  to  license. 
If  this  is  denied  there  are  no  property  rights 
in  patents,  and  the  inventor  is  the  servant  of 
an  industrial  communism. 

And  to  those  critics  of  this  opinion  who  may 
suspect  the  personal  affiliations  of  the  writer 
it  may  be  stated  that  he  was  employed  by  and 
aligned  with  the  independents  who  fought 
"the  trust,"  through  a  number  of  years. 

It  is  to  be  admitted  that  the  competition  of 
trust  and  independents  doubtless  itself  did 
much  to  advance  the  cause  of  the  motion  pic- 
ture ultimately,  but  that  merely  indicates  the 
general  futility  of  law. 

FROM  the  opening  weeks  of  igog  the  conflicts 
of  the  Motion  Picture  Patents  Company  and 
the  resultant  "independents"  began  to  make 
film  history.  We  must  trace  for  a  way  the 
story  of  some  of  these  men  and  concerns  which 
were  soon  to  become  the  leaders  in  the  war 
against  the  Patents  Company — and  at  the 
same  time  the  chieftains  in  a  whole  series  of 
little  but  bloody  civil  wars  among  themselves. 
It  was  out  of  these  wars  that  the  star  system 
evolved,  and  because  of  commercial  rivalry 
and  expedients  of  film  selling  that  the  names 
of  Pickford,  Griffith,  Ince,  Sennett  and  many 
another  were  to  get  before  the  public  on  the 
screen 

It  must  be  realized  that  when  the  spring  of 
igog  arrived  screen  credits,  or  the  advertising 
of  players,  scenario  writers  and  directors  had 
not  yet  been  even  so  much  as  considered. 
Amazing  as  it  may  seem  to  the  motion  picture 
patrons  of  today,  the  personalities  of  the  screen 
were  absolutely  nameless  to  their  followers 
then.  The  motion  picture  had  not  discovered 
publicity. 


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Photoplay  Magazine — Advertising  Section 


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Treatments  by  Appointment  at  the  Salon. 

ELEANOR  ADAIR 

23  East  56th  Street  New  York,  N.  Y. 


Standard 
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vanished  entirely.  It  is  seldom  that  more  than  an 
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It  will  be  recalled  from  the  last  chapter  how 
the  anti-racetrack  gambling  legislation  of  1908 
so  discouraged  Adam  Kessel,  a  book  maker  at 
Sheepshead  Bay,  that  he  went  out  to  collect 
an  old  debt  and  took  over  an  embryo  him 
exchange  in  payment.  This  obscure  and  seem- 
ingly irrelevant  fact  had  a  vast  deal  to  do  with 
the  subsequent  affairs  of  the  screen  and  the 
history  of  stars. 

Early  in  his  exchange  operations  Kessel  be- 
came a  member  of  the  Film  Service  Associa- 
tion, an  organization  of  exchangemen  formed 
for  the  purpose  of  eliminating  destructive  com- 
petitive practises,  price  cutting  and  the  like. 
But  the  price  cutting  did  not  end.  Some  way 
and  somehow  Kessel  found  his  best  accounts 
with  theaters  were  constantly  being  under- 
mined. Investigation  developed  that  the 
highly  ethical  exchanges  of  the  Association 
were  operating  secret  and  ostensibly  uncon- 
nected "sub-exchanges"  which  carried  on  the 
very  nefarious  practises  that  they  had  formed 
the  association  to  prevent. 

"If  that's  the  game  I'll  play  it,"  Kessel  de- 
cided. And  this  brought  in  yet  another  name 
of  note  in  screen  history. 

Kessel  went  out  to  look  up  his  erstwhile 
friend  and  sheet-writer  of  the  bookmaking 
days,  Charles  Bauman.  He  found  Bauman 
operating  a  racing  tip  service  and  doing  well 
selling  "best  bets"  and  "selections  for  today" 
to  the  racing  fans. 

_  "Say,  Charlie,  this  is  the  bunk — these  moving 
pictures  are  the  new  graft,  come  on  in." 

Bauman  looked  his  old  friend  in  the  eye 
skeptically  and  shook  his  head.  "Addy"  Kes- 
sel was  all  right  but  slightly  off  his  base  in 
Bauman's  opinion. 

But,  despite  Bauman's  protest,  Kessel  pro- 
ceeded to  move  a  box  of  films  into  a  side  room 
off  Bauman's  racing  tip  establishment. 

"There,  you're  in  the  film  business,  now — 
I'll  send  over  a  man  to  do  the  work."  And 
with  that  Kessel  left.  Now  he  had  a  sub- 
exchange  and  a  partner,  Charles  Bauman. 

TTHE  sub-exchange  did  a  remarkable  busi- 
■*-  ness,  and  very  shortly  Bauman  and  Kessel 
were  dividing  profits  close  to  a  thousand  dollars 
a  week.  The  racing  tip  service  shut  down. 
The  new  game  was  better. 
_  Then  came  war  in  the  Film  Service  Associa- 
tion. The  vigorous  sales  efforts  of  that  hidden 
sub-exchange  of  Bauman  and  Kessel  was  doing 
too  well.  Private  detectives  employed  by  the 
Film  Service  Association  found  Charlie  Kessel, 
a  brother  of  Adam's,  driving  a  delivery  wagon 
laden  with  the  sub-exchange's  price  cutting 
films. 

Kessel's  Empire  Film  Exchange  was  im- 
mediately cut  off  from  its  supply  of  film  from 
the  manufacturers  of  the  licensed  group,  which 
for  the  moment  meant  practically  all  of  the 
makers  of  film  in  the  United  States. 

Ruin  looked  the  Bauman  and  Kessel  film 
business  right  in  the  face.  They  looked  it  right 
back  again.  If  they  could  not  buy  pictures, 
then  they  would  make  them.  It  was  a  simple 
answer  to  a  simple  condition.  The  fact  that 
they  knew  nothing  at  all  of  the  making  of 
motion  pictures  did  not  make  them  pause 
more  than  a  minute. 

Over  in  Brooklyn  they  found  Fred  Balshofer 
in  possession  of  a  motion  picture  camera  and 
not  much  to  do.  They  signed  him  at  once 
as  their  technical  expert  with  a  twenty-five 
per  cent  interest  in  their  profits. 

On  the  side  streets  of  Brooklyn  and  no 
studio  facilities  whatever  they  made  a  picture, 
building  the  story  as  they  went  along.    The 


principal  members  of  the  cast  were  Charles 
Bauman  and  Adam  Kessel,  in  their  first  motion 
picture  appearance.  When  the  picture  was 
done  they  decided  it  was  not  as  bad  as  they 
had^  expected.  They  called  it  "Disinherited 
Son's  Loyalty." 

It  was  eight  hundred  feet  in  length  and  cost 
them  a  total  of  $200.  It  went  into  their  film 
service  and  appeared  to  be  acceptable  to  the 
theaters. 

This  was  encouraging.  With  the  same  cast 
and  the  addition  of  a  wolfskin  rug  borrowed 
at  a  taxidermist's  shop  they  made  a  second 
and  more  sensational  drama  entitled  "Davy 
Crocket  in  Hearts  United."  Adam  Kessel  as 
Davy  Crocket  shot  the  wolfskin  rug  with  great 
effect  at  the  climax.  This  picture  is  solemnly 
called  to  the  attention  of  the  reader  as  marking 
the  beginning  of  wild  animals  in  the  screen 
drama. 

If  prints  of  these  two  first  Bauman  and 
Kessel  releases  are  in  existence  they  deserve 
a  place  in  the  museum  of  the  motion  picture — 
if  there  ever  is  one. 

With  two  such  sterling  box  office  successes 
to  their  credit  Bauman  and  Kessel  decided  it 
was  time  to  organize  a  corporation — which  has 
come  to  be  a  favorite  habit  in  the  motion 
picture  industry. 

A  T  Mouquin's  restaurant  in  Seventh  Avenue, 
-**-Kessel,  Bauman,  Balshofer  and  Louis 
Burston,  an  attorney,  gathered  about  a  table 
at  dinner  and  came  to  an  agreement  on  the 
formation  of  the  company. 

All  was  settled.  Nothing  was  left  to  decide 
but  the  name. 

Just  at  this  juncture  Kessel  got  outfumbled 
with  the  dinner  check  and  found  that  he  was 
the  host  of  the  function. 

In  the  change  tray  the  waiter  brought  a  new 
ten  dollar  bill  bearing  the  figure  of  the  charging 
bison. 

"That's  a  good  trademark — anything  that 
Uncle  Sam  will  put  on  his  money  is  good 
enough  for  us,"  Kessel  decided. 

So  the  new  concern  was  christened  "Bison 
Life  Motion  Pictures"  and  duly  incorporated. 

Now  with  a  company  and  a  camera  all  they 
needed  was  a  dramatic  expert.  Adam  Kessel 
found  Charles  Ainsley,  an  extra  man  working 
at  Biograph  for  five  dollars  a  day,  was  willing 
to  transfer  his  allegiance  for  ten  dollars  a  day. 
Ainsley  became  the  master  producer  of  "Bison 
Life  Motion  Pictures." 

Then  Bison  pictures  went  to  Coytsville  and 
made  "A  True  Indian's  Heart,"  taking  on  as 
their  first  actor  Charles  French,  a  player  in 
stock  on  the  stage. 

While  it  was  the  original  plan  of  Kessel  and 
Bauman  to  make  the  pictures  only  for  their 
own  exchanges,  it  occurred  to  them  that  others 
might  be  in  the  same  plight.  So  the  three 
subjects  were  offered  for  sale  at  a  hundred 
dollars  a  print. 

They  all  sold.  Even  the  first  subject,  "Dis- 
inherited Son's  Loyalty,"  sold  a  total  of  seven- 
teen prints — a  gross  income  of  $1,700  from  a 
production  that  cost  $200. 

"Never  mind  the  expense,"  the  plungers 
announced  to  Ainsley.  "Let  'er  go.  We  will 
stand  up  to  $350  a  picture  if  you  have  to  spend 
that  much  to  make  them  good." 

The  movement  out  of  which  stars  were  born 
had  begun. 

In  the  next  chapter  we  will  visit  the  battle- 
fields of  the  screen  where  the  great  names  of 
the  motion  picture  of  today  emerged  from 
obscurity.  [  to  be  continued  | 


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How  Lloyd  Made 
"Safety  Last" 

[  CONTINUED  FROM  PAGE  33  ] 

Not  one  foot  of  the  picture  was  shot  with  a 
trick  camera  of  any  sort.  It  was  shot  entirely 
with  a  regulation  motion  picture  camera,  the 
same  kind  they  use  for  pictures  like  "Bella 
Donna,"  though  it  doesn't  seem  possible. 

If  you  watch  closely  you  will  see  that 
Harold's  face  is  right  in  the  camera  in  almost 
every  scene.  So  common  sense  proves  the 
utter  falsity  of  the  theory  that  a  double  was 
used  to  any  extent.  As  a  matter  of  fact,  a 
double  was  used  twice — once  when  he  swung 
clear  of  the  building  by  a  rope.  A  circus 
acrobat  did  that. 

There  was  never  a  time  when  Harold  wasn't 
working  at  least  one  and  sometimes  four 
stories  above  anything  solid.  And  while  he 
doesn't  like  to  have  it  mentioned,  there  was 
hardly  a  moment  when  a  slip  or  a  fumble 
wouldn't  have  given  him  a  mighty  tough  fall. 

Here's  how  they  did  it. 

First,  they  selected  a  building  on  North 
Spring  Street  in  Los  Angeles.  It  is  a  brick 
building,  twelve  stories  high,  and  constructed 
in  such  a  way  that  it  has  easy  footholds  on 
which  to  climb. 

The  entire  climb  of  that  twelve-story  build- 
ing was  made — during  the  sequence.  And  in 
part  of  it,  the  long  shots,  Harold  used  a  double. 

Then  they  found  three  other  buildings,  of 
differing  heights,  all  shorter  than  the  main 
building.  On  the  tops  of  these,  they  built  sets 
exactly  producing  and  paralleling  the  real 
building.  Thus,  the  set  where  Harold  was 
working  corresponded  exactly  in  height  and 

Eosition  to  the  story  where  he  was  supposed  to 
e  on  the  real  building. 
But  these  sets  were  built  several  feet  in  from 
the  edge  of  the  roof,  thus  making  it  possible  for 
him  to  work  only  two  or  three  or  four  stories 
above  the  roof,  instead  of  sLx,  eight  or  twelve 
stories  above  the  street. 

They  were  built  in  just  far  enough  so  that 
the  fall  could  be  broken  and  so  that  a  platform 
could  be  erected  for  the  camera.  Yet  they 
were  close  enough  to  the  edge  so  that  by  shoot- 
ing with  the  camera  at  a  proper  angle  the  drop 
to  the  street  looked  absolutely  straight  down. 

THAVE  been  up  on  one  of  those  sets  with 
■*■  Harold  and  it  gave  me  the  willies.  You  can 
look  straight  down  to  the  pavement  below  and 
that  little  ledge  of  roof  didn't  mean  a  thing  in 
my  life.    Not  a  thing. 

A  big  insurance  company  sent  a  man  down 
to  watch  Harold  work  one  day  and  then  refused 
him  life  insurance. 

As  a  matter  of  fact,  there  is  only  one  secret, 
or  trick,  about  the  whole  picture. 

Harold  and  his  cameraman  have  worked  out 
certain  angles  for  the  camera  that  give  the 
desired  effect  of  height  and  of  sheer  drop. 
These  cannot  be  explained  on  paper  and 
besides  Harold  refuses  to  part  with  the  exact 
details.  They  are,  however,  technical  and 
entirely  legitimate.  Simply  the  angle  at  which 
the  camera  is  placed  from  the  scene. 

A  replica  of  the  bottom  of  the  building  was 
also  erected  on  the  studio  lot,  to  avoid  working 
in  crowded  streets. 

The  most  interesting  part  of  the  answer  to 
that  question  about  how  does  he  do  it,  is  that 
it's  so  simple.  All  theatrical  effects  are  illu- 
sions, all  we  desire  is  the  perfect  illusion.  And 
this  sequence  gives  an  illusion  that  is  complete 
and  perfect  and  satisfying. 

"There's  just  one  thing  I'd  like  to  tell  them," 
said  Harold.  "I  went  to  a  fortune  teller  down 
at  the  beach  just  after  I  finished  making  the 
picture.  She  felt  the  calluses  on  my  hands 
and  said  I  earned  my  living  by  hard  manual 
labor.  I'll  say  I  did.  At  first,  I  was  just 
scared  to  death.  But  after  I'd  worked  up 
there  a  few  days,  I  got  just  as  goofy  as  any- 
body. And  I'll  add  this — no  more  thrill  air 
pictures.    My  wife  won't  let  me." 


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The  Studio  Secret 

[  CONTINUED  FROM  PAGE  5 1  ] 


she's  trying  to  make  Margot  jealous." 

"Yes."  Joy's  cheeks  flamed.  ''I  mean  just 
that.  It  may  be  tremendously  conceited  for 
me  to  say  so,  but  I— well — I  can't  help  feeling 
it.    And  I  wish  you'd  tell  me  why." 

"All  right,  I  will."  Romain's  careless  laugh 
held  no  mirth.  "A  year  or  more  ago,  before  I 
had  met  Margot,  Helen  Kramer  and  I  were 
thrown  together  a  good  deal.  She  was  doing 
the  continuity  of  a  picture  I  was  in.  I  found 
her  very  attractive — very.  I  still  find  her  so. 
But — I'm  Steve  Kramer's  friend,  first,  last  and 
always,  and  when  I  discovered  I  was,  more  or 
less  unintentionally,  carrying  on  a  flirtation 
with  his  wife,  I — well — I  stopped  it.  That's 
the  whole  story.  I  suppose  it  hurt  her  vanity. 
Of  course  all  this  sounds  terribly  egotistical, 
but  I'm  trying  to  tell  you  the  truth.  I  don't 
say  that  she  was  in  love  with  me.  But — well — 
you're  a  woman,  and  you  know  how  women 
are.  A  good  deal  like  the  dog  in  the  manger,  at 
times.  She  couldn't  have  me — granting  of 
course  that  she  wanted  me,  which  I  don't  say 
she  did — so  she  made  up  her  mind,  I  guess,  that 
nobody  else  shoujd.  She's  absurdly  jealous  of 
Margot.  We  both  know  it.  But  after  all, 
what  can  she  do?" 

For  a  moment  there  flashed  into  Joy's  mind 
certain  things  that  Romain  had  said  to  her  at 
Sam  Leon's  party — things  that  she  felt  morally 
certain  Helen  Kramer  had  overheard.  Such  a 
story,  skillfully  instilled  in  Margot  Gresham's 
mind,  might  precipitate  a  very  great  deal  of 
trouble. 

"She  may  be  able  to  do  more  harm  than  you 
think,"  Joy  said  cryptically.  "She  brought  me 
here  tonight  for  some  purpose.  I  don't  know 
just  what  it  was,  but  I'm  sure  it  had  something 
to  do  with  Miss  Gresham  and  yourself." 

The  music  suddenly  stopped,  leaving  them 
at  one  end  of  the  room.  As  though  in  answer 
to  Joy's  words,  Miss  Gresham  came  swiftly  to- 
ward them.  Her  usual  calm  assurance  was 
gone ;  in  her  eyes  was  red,  flaming  jealousy.  She 
took  no  notice  of  Joy  at  all. 

"Jean,"  she  said  sharply,  "I'm  going  home. 
Do  you  want  to  come  with  me,  or  do  you  prefer 
to  stay?"  Her  look,  her  words,  were  a  chal- 
lenge. Several  persons  about  them  stared 
curiously;  there  was  a  hum  of  comment. 
Romain  flushed,  aware  that  he  must  make  a 
quick  decision,  aware,  too,  of  a  certain  hurt  to 
his  pride.  Margot  had  accused  him  of  nothing 
— had  in  fact  said  nothing,  except  that  she  was 
going  home,  and  yet,  she  had  challenged  Joy,  or 
any  other  woman,  for  the  possession  of  the  man 
she  loved,  publicly,  openly,  as  though  deter- 
mined to  show  the  world  that  Romain  was  her 
property — that  about  his  neck  he  wore  a 
golden  chain.  Would  it  prove  strong  enough 
to  hold  him,  or  would  he  snap  it,  once  and  for 
all?  The  whole  room  seemed  to  hang  on  his 
decision.  Joy's  cheeks  paled  with  anger,  with 
shame,  that  she  had  been  the  cause  of  this  un- 
fortunate situation,  unconsciously,  it  is  true, 
but  the  cause,  nevertheless.  She,  too,  awaited 
Romain's  decision,  hoping  devoutly  that  he 
would  leave  her.  She  knew,  as  did  the  others 
about  her,  that  if  he  did  not,  his  engagement  to 
Margot  Gresham  was  at  an  end.  Then  Romain 
put  out  his  hand,  a  calm  smile  upon  his  face. 

"Good  night,  Miss  Moran,"  he  said. 
"Thanks  for  the  dance.  I  enjoyed  it  im- 
mensely." He  turned  to  Margot,  touched  her 
arm.  "  Of  course,  I'm  coming  with  you,  dear," 
he  whispered.  "Let's  go."  To  Joy  it  seemed 
that  a  sigh  of  relief  swept  over  the  group  about 
her.  The  expression  on  Helen  Kramer's  face, 
however,  was  not  good  to  look  at. 

CHAPTER  XV 

JOY  came  home  from  the  Club  Royale  with 
the  Kramers,  but  it  was  not  an  easy  thing  for 
her  to  do,  and  had  it  not  been  for  Steve 
Kramer's  gay  chatter,  she  could  never  have  en- 
dured it.  She  felt  perfectly  sure  that  Mrs. 
Kramer  had  in  some  way  precipitated  Margot 


Gresham's  attack  upon  her,  had  filled  the  girl';; 
mind  with  jealousy,  but,  lacking  any  proof  of 
it,  she  was  forced  to  remain  silent,  to  pretend 
that  she  suspected  nothing.  And  Mrs.  Kram- 
er, sure  of  her  position,  elected  to  treat  the 
whole  matter  as  a  joke. 

"Margot  must  have  gotten  hold  of  some  bad 
hootch,"  she  laughed,  "to  make  her  do  an 
idiotic  thing  like  that.  I  never  was  more  sur- 
prised in  my  life." 

"Do  you  think  so? "  Joy  replied,  meeting  her 
companion's  deception  with  calm  eyes.  "I 
don't  see  that  she  did  anything  so  idiotic.  She 
wanted  to  go  home  and  asked  the  man  she's 
engaged  to  to  take  her.  Nothing  unusual 
about  that."  Her  manner  was  very  demure, 
but  she  was  on  guard.  With  a  woman  like 
Helen  Kramer  matching  wits  was  a  dangerous 
game,  like  crossing  rapiers. 

"Oh,  but  it  was  the  way  she  did  it,"  Mrs. 
Kramer  insisted,  "making  a  fool  of  him  before 
everybody.  I  wonder  he  didn't  assert  him- 
self." 

"Nonsense!"  Steve  Kramer  laughed. 
"You've  done  the  same  thing  to  me  dozens  of 
times." 

"Probably.  But  then,  you're  only  my  hus- 
band." 

"Meaning,  I  suppose,  that  husbands,  being 
hog-tied,  and  fitted  with  a  ball  and  chain,  have 
got  to  do  as  they  are  told." 

"Something  like  that."  There  was  a  purr- 
ingnoteinMrs.  Kramer's  voice.  "Margot  was 
a  big  fool  to  take  the  chances  she  did.  She'll 
lose  him,  if  she  doesn't  look  out." 

"Why  do  you  suppose  she  did  it?"  Joy 
asked  with  pretended  carelessness.  "What 
happened,  to  make  her  so  angry?" 

"Why,  my  dear,  don't  you  know?  He  was 
dancing  with  you." 

"  Nonsense.  Can't  a  man  dance  with  whom- 
ever he  pleases?" 

"Not  when  the  woman  in  question  is  as 
good-looking  as  you.  And  not  when  he  lets 
everyone  see  that  he  realizes  it.  Why — the 
way  he  looked  at  you — " 

"Absurd!"  Joy  retorted  angrily.  "It  wasn't 
that.  Somebody  must  have  been  telling  her 
things — " 

"What  things?"  Mrs.  Kramer's  voice  was 
smooth  as  clipped  velvet.  "Are  there  really 
things  to  tell?    This  grows  interesting." 

JOY  was  glad  of  the  darkness  that  hid  her 
blushes.  She  knew  very  well  that  there  were 
things  to  tell,  knew,  too,  that  Mrs.  Kramer 
was  aware  of  them.  In  the  battle  of  wits,  she 
had  been  worsted.  She  thought  of  Romain's 
words  that  night,  of  the  passionate  way  in 
which  he  grasped  her  hands,  spoken  of  the 
effect  she  had  on  him.  Helen  Kramer  had  un- 
doubtedly seen,  overheard.  And  there  was 
also  the  kiss  upon  her  shoulder,  that  day  she 
had  danced.  In  the  hands  of  a  person  like 
Mrs.  Kramer  these  things  could  have  been 
used  in  a  way  to  infuriate  any  woman.  And 
morally  certain  as  she  was  that  they  had  been 
used,  Joy  could  say  nothing. 

"I  don't  know  of  anything,"  she  remarked 
quietly,  "but  gossips  are  usually  not  content  to 
stick  to  the  truth." 

Mrs.  Kramer  started  to  speak,  but  her  hus- 
band waved  her  aside.  Simple,  honest,  direct, 
he  had  a  man's  wholesome  detestation  of 
scandal. 

"For  heaven's  sake,  girls,"  he  exclaimed, 
"don't  try  to  make  mountains  out  of  molehills. 
Let  Jean  and  Margot  alone.  I'll  bet  they 
kissed  and  made  up  ten  minutes  after  they 
left  the  place.  Whose  business  is  it,  anyway? 
I,  for  one,  think  Margot  showed  very  good 
sense  in  prying  her  fiance  away  from  any  such 
dangerous  woman  as  Miss  Moran.  If  you 
don't  keep  a  close  watch  on  me,  my  dear,  I'll 
be  making  love  to  her  myself,  in  spite  of  my 
ball  and  chain." 

"Then  you  would  be  showing  better  taste 
than  you  usually  do,"  his  wife  retorted.    "Your 


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last  affair,  with  that  Dennison  girl,  was  a 
public  disgrace." 

"Nonsense.     I  never  even  kissed  her." 

"I'd  have  minded  it  less  if  you  had,  if  she'd 
been  good-looking.  But  when  a  man  who  pre- 
tends to  be  an  artist  picks  out  a  scrawny, 
sallow-faced,  synthetic  blonde — " 

Mr.  Kramer  roared  with  laughter. 

"It  was  her  mind  that  attracted  me,  my 
dear,"  he  said — "her  superior  mind — " 

"Fiddlesticks!  I'll  bet  you  never  told  her 
that.  Try  and  get  it  through  your  ivory  dome 
that  a  wife  sometimes  resents  her  husband 
making  love  to  an  ugly  woman  infinitely  more 
than  she  would  his  running  away  with  a  beau- 
tiful one.  Especially  if  she  happens  to  be  not 
unattractive  herself.  It  hurts  her  vanity,  to 
think  that  he  could  prefer  anyone  more 
homely.  Now  if  you  were  to  start  an  affair 
with  Miss  Moran,  I  might  be  angry,  but  at 
least  I  wouldn't  be  humiliated.  Why  not 
try  it?" 

"Look  here,"  Joy  laughed.  "It's  all  very 
well  for  you  people  to  be  arranging  my  affairs 
for  me,  but  I  think  I  should  at  least  be  con- 
sulted. It  takes  two  to  make  a  bargain,  you 
know." 

Mr.  Kramer  reached  back  his  hand  and 
squeezed  one  of  hers. 

"Don't  pay  any  attention  to  her,  sweet- 
heart," he  said.  "We  understand  each  other. 
By  the  way,  what  are  you  doing  tomorrow 
night?" 

Mrs.  Kramer  yawned. 

"Sometimes,  Steve,"  she  said,  "I  wish  you 
would  fall  in  love  with  another  woman.  Mar- 
ried life  is  a  dreadful  bore.  "Well — here  we 
are  at  the  hotel." 

JOY  slept  badly  that  night,  and  the  letters 
which  greeted  her  in  the  morning  did  not  add 
to  her  cheerfulness.  There  was  a  note  from 
her  father,  dictated  to  his  nurse  at  the  hos- 
pital, complaining  of  her  absence,  his  enforced 
inactivity,  the  long  and  very  lonely  days  in  his 
darkened  room.  Evidently  the  confinement 
was  telling  on  him.  And  the  improvement  in 
his  eyesight,  for  which  the  doctors  had  hoped, 
was  not  in  evidence.  He  was,  in  fact,  terribly 
blue,  and  while  he  tried  to  hide  it,  Joy  had  no 
difficulty  in  reading  between  the  lines.  There 
was  a  hint  that  a  little  later  on  he  would  like 
to  join  her  in  Hollywood.  There  was  the  ques- 
tion of  money  to  be  considered.  His  debt  to 
Philip  Watrous  now  ran  into  the  thousands, 
since  the  latter  has  assumed,  for  the  time  being, 
the  hospital  charges,  the  heavy  fees  of  the  eye 
specialists.  All  that  money,  Joy  knew,  would 
have  to  be  paid  back.  It  would  take  a  long 
time  to  repay  it  from  her  salary,  although  she 
was  setting  aside  a  certain  sum  each  week  for 
that  purpose.  But  living  expenses  at  the  hotel, 
dressing  as  she  knew  a  woman  in  her  position 
must  dress,  made  her  weekly  savings  smaller 
than  she  had  hoped.  Of  course  there  was  the 
hundred  thousand  dollars  that  had  been  prom- 
ised her  by  Mr.  Gresham,  should  she  succeed 
in  preventing  Romain's  marriage  to  his  daugh- 
ter, but — she  did  not  want  even  to  try  to  earn 
that. 

The  letter  from  Mr.  Watrous  was  friendly 
enough,  wishing  her  success  in  her  new  work, 
telling  of  a  visit  he  had  made  to  her  father, 
referring  briefly  to  the  latter's  financial  affairs; 
but  between  the  lines  Joy  sensed  an  eager  in- 
terest in  the  mission  which  had  brought  her  to 
the  Coast.  Did  she  see  much  of  Romain? 
How  did  she  like  him?  How  did  others  like 
him?  Had  the  old  stories  about  him  died 
down?  Innocent  enough  inquiries,  veiled  by 
a  pretended  interest  in  the  popular  star,  but — 
there  remained  the  fact  that  Joy  had  met  him 
on  the  trip  west,  was  associated  with  him  in 
the  Royal's  new  picture,  and  she  understood 
what  the  lawyer's  questions  meant;  they  hurt 
her,  like  prods  from  a  white-hot  iron. 

The  third  letter  was  from  Arthur  Lloyd — a 
long,  affectionate  lover-like  scrawl,  telling  her 
that  he  had  been  to  see  her  father  several 
times,  that  Mr.  Moran,  while  in  excellent  gen- 
eral health,  showed  not  the  slightest  improve- 
ment, so  far  as  his  eyesight  was  concerned. 


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The  wood  alcohol,  it  appeared,  had  done  its 
work  thoroughly,  although  the  doctors  still 
held  out  hope.  He,  Arthur,  had  decided  not 
to  take  the  stock  engagement  which  had  been 
offered  him  for  the  summer.  The  Robertson- 
Black  people  were  after  him,  he  said,  to  do  a 
series  of  two-reel  comedies;  he  thought  he 
might  close  with  them,  if  they  offered  a  large 
enough  salary,  and  come  out  to  Hollywood  so 
as  to  be  near  Joy  during  the  summer.  It  was 
the  very  thing  she  did  not  want  him  to  do, 
and  yet  there  was  no  adequate  reason  she 
could  advance  against  it.  The  real  reason, 
of  course,  was  that  his  presence  would  infinitely 
complicate  the  task  which  lay  ahead  for  her, 
but  this  she  could  not  tell  him,  since  of  that 
part  of  her  agreement  with  Mr.  Watrous  he,  of 
course,  knew  nothing.  And  he  would  be  certain 
to  be  jealous  of  Romain;  Arthur  was  always 
jealous,  without  any  right  to  be,  of  everyone 
who  came  near  her.  She  hoped  he  would  not 
come,  preferring  to  work  out  her  affairs  alone, 
but  something  told  her  that  he  would.  She 
tossed  the  letter  into  a  bureau  drawer  and  went 
over  to  the  studio. 

ON  the  lot  she  met  Romain,  for  a  wonder 
alone.  He  was  staring  at  the  imposing  mass 
of  wood  and  plaster  which  represented  the 
entrance  to  the  House  of  the  Sirens,  in  Mem- 
phis. 

"Here's  where  you  do  that  dance  for  me," 
he  said,  with  his  old  infectious  laugh.  "Al- 
though the  interior's  in  the  studio,  of  course. 
Davidson  tells  me  he  expects  to  shoot  that 
scene  next  week." 

Joy  stared  at  him  in  astonishment.  Nothing 
in  his  manner  indicated  that  the  happenings 
of  the  night  before  had  caused  him  any  em- 
barrassment. And  yet,  they  should  have. 
She  laughed  uneasily. 

"Aren't  you  afraid  to  be  seen  speaking  to 
me?"  she  asked.  "I  hope  that  isn't  a  very 
unkind  remark." 

His  manner  changed  at  once.  Joy's  words, 
her  expression,  showed  how  deeply  she  had 
been  hurt. 

"Sit  down,"  he  said,  pointing  to  the  huge 
plinth  that  formed  the  base  of  an  unfinished 
column.     "I  want  to  talk  to  you." 

"You'd  better  not,  as  I  said  before.  Miss 
Gresham  was  furious  with  me,  last  night." 

"I  know.  She  was  very  unjust,  and  I  told 
her  so,  after  we  left.  I  didn't  want  to  say 
anything  at  the  time,  on  your  account,  with 
all  those  people  standing  around  waiting  for 
a  scene.  I  made  her  tell  me  what  it  was  all 
about,  too.  That  Kramer  woman  was  at  the 
bottom  of  it,  of  course.  She  insinuated  to 
Margot  that  you  and  I  had  been  carrying  on 
a  violent  affair— in  secret.  Said  she  had  seen 
things — heard  things.  I  denied  it,  of  course. 
Told  her  we  had  never  been  anything  more 
than  friends.  She's  going  to  apologize  to  you, 
when  she  gets  back." 

"When  she  gets  back?    Has  she  gone  away?" 

"Yes.  Her  father's  in  Frisco,  on  some  busi- 
ness or  other,  and  sent  word  he  wanted  to  see 
her.  You  know,  I  suppose,  that  he's  violently 
opposed  to  our  marriage.  Would  do  anything 
in  his  power  to  stop  it,  I  guess.  I've  wondered 
at  times,  if  he's  managed  in  any  way  to  reach 
Helen  Kramer.  If  he'd  offer  her  enough 
money,  I  don't  doubt  she'd  try  to  smash  things 
up.     She's  that  sort  of  a  woman." 

Joy  shuddered.  By  what  trick  of  the  imagi- 
nation had  Romain  hit  upon  the  very  thing 
Margot's  father  was  trying  to  do — not  through 
Mrs.  Kramer,  but  through  herself.  "That 
sort  of  a  woman!"  It  was  unsupportable,  yet 
she  CQuld  say  nothing. 

"I  don't  think  it's  that."  She  shook  her 
head.  "If  Helen  Kramer  is  trying  to  make 
trouble  between  Miss  Gresham  and  yourself, 
it's  because  of  entirely  different  reasons.  I 
suppose  you  know  she  loves  you — " 

"Nonsense!"  He  made  a  grimace.  "She 
doesn't  know  what  love  means." 

"Oh  yes,  she  does.  One  sort.  You  admitted 
it  yourself,  last  night." 

He  stared  moodily  at  the  ground,  left  ragged 
by  the  workmen. 


"It's  all  a  nasty  tangle.  But  Margot  loves 
me.  I  know  that.  And  as  long  as  she  does, 
nobody  can  make  any  trouble  between  us." 

"Except  yourself." 

"What  do  you  mean?" 

"Why — it  ought  to  be  clear.  You  can  make 
trouble  between  you,  if  you  do  things  you 
shouldn't." 

"Yes."  He  stirred  uneasily.  "That's  true 
enough." 

"And  you  have  done  some  things — " 

"What?" 

"You  know  well  enough.  That  time  you — 
well — kissed  me.  And  the  other  time— at  Mr. 
Leon's  house,  when  you  said  things — took  my 
hands.  Why  did  you  do  it?  I'm  terribly 
afraid  Mrs.  Kramer  overheard." 

Romain  turned  and  faced  her,  a  queer,  al- 
most hunted  look  in  his  eyes. 

"I'm  afraid  she  did.  In  fact,  she  hinted  as 
much  to  Margot,  last  night." 

"Then  why  do  such  things?  I  didn't  invite 
them,  did  I?  It  only  makes  a  lot  of  trouble, 
and — " 

With  a  quick  movement  Romain  placed  his 
hand  on  Joy's  as  it  lay  between  them  on  the 
seat.     She  could  feel  that  he  was  trembling. 

"I  couldn't  help  doing  them.  I've  told  you 
that  before.  I — there's  something  about  you — 
some  bond  between  us — I  can't  explain  just 
what  it  is,  but — whenever  I'm  with  you,  I  feel 
as  though  I  couldn't  help  sweeping  you  into 
my  arms  and  keeping  you  there — forever." 

"Please."  Joy  drew  away  her  hand  almost 
roughly. 

"I  know.  What's  the  use?"  He  got  up  and 
kicked  savagely  at  a  pile  of  plaster.  "I'm 
engaged.  So  are  you.  And  there's  a  lot  more 
■ — things  you  don't  know  about.  Oh — hell! 
I  guess  I'm  just  a  plain,  ordinary  damned  fool. 
But  I  wish" — he  darted  an  eager  look  into 
Joy's  eyes — "I  wish  I  were  back  a  year  and  a 
half,  and  could  change  a  lot  of  things  that  can't 
be  changed  now.  Well— here  comes  that  new 
assistant  of  Davidson's.  I  guess  they're  ready 
for  me.  You'll  forget  what  I've  said,  won't 
you?  When  things  have  happened,  they've 
happened,  that's  all,  and  there's  no  use  trying 
to  alter  them.  See  you  later."  He  strode  off, 
leaving  Joy  more  confused  than  ever.  Was 
Romain  really  marrying  Margot  Gresham  for 
her  money,  without  loving  her?  Or  was  the 
story  told  by  Helen  Kramer  about  the  death 
of  his  wife  true?  In  either  case,  Joy  reflected, 
the  part  she  was  playing  in  the  matter  was  a 
foolish  one.  With  lifted  chin  she  went  to  her 
dressing  room,  determined  that  so  far  as  she 
was  concerned,  that  folly  should  cease.  Ro- 
main's  love-making,  if  such  it  could  be  called, 
was  too  devious  in  its  nature  to  be  pleasing. 
And  yet,  when  she  thought  of  his  burning 
words,  a  great  tenderness  filled  her. 

CHAPTER  XVI 

ARTHUR  LLOYD  arrived  in  Hollywood 
almost  as  soon  as  his  letter.  The  negotia- 
tion with  the  Robertson-Black  people  had  gone 
through  with  a  rush,  Lloyd  having  been  as- 
sisted in  arriving  at  a  decision  by  certain 
rumors  that  reached  him  through  a  friend  in 
Hollywood.  This  friend,  an  assistant  director 
of  the  Inter-Ocean,  wrote  him,  among  other 
things,  that  Marty  Moran's  daughter,  Joy,  was 
making  a  dead  set  for  Jean  Romain,  over  at 
the  Royal,  and  that  Romain's^dww,  Margot 
Gresham,  had  bawled  the  two  of  them  out  in 
public,  at  the  Club  Royale.  On  learning  this, 
Lloyd  promptly  ceased  to  demand  the  addi- 
tional hundred  a  week  he  had  been  holding 
out  for,  and  closed  the  same  day  on  the  Robert- 
son-Black's own  terms. 

Joy  was  unable  to  meet  him  at  the  station 
in  Los  Angeles,  although  she  knew  he  would 
expect  it,  because  they  were  shooting  a  num- 
ber of  scenes  that  day  in  which  she  took  part. 
As  a  result,  she  first  saw  him  in  the  lobby  of 
the  hotel,  where  she  found  him  waiting  im- 
patiently for  her  about  half  past  five.  He  was 
in  an  ill  temper,  due  in  part  to  Joy's  failure  to 
meet  him  at  the  train,  and  in  part  to  the 
jealousy  he  had  been  nursing  ever  since  he  left 


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New  York.  He  led  her  to  a  chair  and  faced 
her  accusingly. 

"What's  all  this  I  hear  about  you  and  Jean 
Romain?"  he  demanded. 

Joy  resented  his  manner,  his  constant  as- 
sumption that  he  had  a  right  to  question  her 
conduct,  her  affairs. 

"I  don't  know  what  you  mean,"  she  retorted. 

"Well — I  hear  he's  been  running  about  with 
you,  and  Margot  Gresham  thinks — " 

Joy  cut  him  short,  her  eyes  blazing. 

"I'm  not  responsible  for  what  Miss  Gresnam 
thinks.  And  in  any  case,  I  don't  see  that  you 
have  any  right  to  take  such  a  tone  with  me. 
Mr.  Romain  is  a  friend — nothing  more." 

Arthur  promptly  retreated,  as  always. 

"You  know  how  it  hurts  me,  Joy,"  he  whis- 
pered, "to  have  people  say  such  things  about 
you.  When  a  fellow  cares  for  a  girl  the  way 
I  care  for  you,  it  isn't  very  pleasant,  to  hear 
her  gossiped  about." 

"Where  have  you  heard  any  gossip?" 

"Didn't  you  and  Miss  Gresham  have  a  row, 
at  the  Club  Royale?" 

"No.  Some  enemy  of  Mr.  Romain's  had 
filled  her  up  with  a  lot  of  stuff  that  made  her 
jealous,  but  there  wasn't  any  row.  All  she  did 
was  ask  him  to  take  her  home,  and  they  went. 
So  that's  that." 

"Oh."  Arthur  appeared  mollified.  "How 
about  having  dinner  with  me?" 

"I'd  be  glad  to.  I  want  to  hear  all  about 
father  and  everything.  Are  you  going  to  stay 
here,  at  the  hotel?" 

"Yes.  For  the  present,  at  least.  I  may 
bunk  in  with  Benny  Hoffman,  over  at  the 
Inter-Ocean,  later  on,  if  his  wife  goes  east." 

"I  see."  The  thought  of  Arthur,  living  at 
the  same  hotel  with  her,  acting,  as  she  knew 
he  would,  as  a  sort  of  moral  censor  of  her 
actions,  did  not  please  Joy  at  all.  "I'll  have 
to  go  up  and  change,"  she  said.  "Meet  me  in 
say  three-quarters  of  an  hour." 

WHILE  dressing  she  reviewed  the  situation 
which  Arthur's  arrival  had  created.  He 
would  be  certain  to  look  on  Romain  as  a  rival, 
to  be  insanely  jealous  of  him.  There  had  been 
ample  evidence  of  such  jealousy  in  the  first 
words  with  which  he  had  greeted  her.  It  was 
a  blessed  thing,  she  reflected,  that  he  did  not 
know  anything  about  her  arrangements  with 
Mr.  Watrous,  the  hundred  thousand  dollars 
she  could  earn,  if  she  cared  to.  Had  he  known 
anything  of  this,  he  would  have  urged  her  to 
do  all  in  her  power  to  ruin  Romain,  would  have 
insisted  on  helping  her;  both  his  jealousy  of 
the  man,  and  his  cupidity,  would  have  im 
pelled  him  to  take  such  a  course.  Well,  she 
had  told  him  nothing — she  wondered  if  by  any 
chance  Mr.  Watrous  had  given  him  an  inkling 
of  the  real  situation.  It  seemed  out  of  the 
question,  and  yet — it  was  a  possibility.  She 
determined  to  be  on  her  guard. 

Their  dinner  together  passed  off  agreeably 
enough;  they  were  just  finishing  their  coffee 
when  Joy  received  word  that  Mrs.  Kramer 
was  outside,  and  wanted  to  see  her  for  a 
moment.  Not  at  all  pleased,  Joy  went  out  to 
the  car,  escorted  by  Lloyd.  Why  did  this 
woman,  like  an  evil  genius,  insist  on  pursuing 
her!  She  presented  Arthur  as  a  friend  from 
New  York. 

Mrs.  Kramer  explained  the  purpose  of  her 
visit  in  a  few  words.  She  and  her  husband 
were  giving  a  little  party  in  honor  of  a  noted 
English  novelist  who  had  just  arrived  to  assist 
in  the  filming  of  one  of  his  stories.  They  very 
much  wanted  Joy  to  come.  Mr.  Lloyd  was 
included  in  the  invitation  of  course.  She 
seemed  to  understand  instinctively  who  Arthur 
was,  although  Joy  did  not  remember  ever  hav- 
ing mentioned  him.  He  was  keen  to  go,  and 
Joy  could  not  well  refuse  without  seeming  rude 
As  a  result,  they  drove  over  in  a  taxi  about 
nine. 

On  the  way  Joy  explained  in  a  few  words 
who  Mrs.  Kramer  was.  Arthur,  it  seemed, 
knew  of  her  work  as  a  writer. 

"You  don't  like  her,  do  you?"  he  remarked 

"Why  do  you  say  that?" 

"Oh — I    just    got    it,    from    your    manner. 


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Bright  woman.  I'm  glad  we're  going.  That 
train  ride  from  New  York  was  a  nightmare." 

The  party  was  a  quiet  one,  and  to  Joy's  sur- 
prise, Romain  was  not  here.  Perhaps,  now 
that  JMargot  was  away,  he  had  decided  to  go 
into  seclusion.  It  was  just  as  well,  she  re- 
flected.  After  the  English  novelist  had  been 
duly  presented,  Joy  found  herself  appropriated 
by  Steve  Kramer,  and  his  gay  good  humor 
caused  her  to  forget  for  the  moment  the  things 
which  had  been  troubling  her.  She  would  have 
felt  less  light-hearted,  had  she  overheard  a  con- 
versation which  took  place  during  the  evening 
between  Arthur  and  Helen  Kramer. 

The  latter,  once  her  guests  were  agreeably 
paired  off,  sought  Lloyd  out,  sat  with  him  for 
awhile  at  one  end  of  the  broad  porch.  Devious, 
sinister,  she  had  learned  of  his  coming  from 
one  of  the  assistant  directors,  to  whom  Joy 
had  spoken  concerning  the  possibility  of 
getting  away  so  as  to  meet  the  train  at  Los 
Angeles.  And,  having  learned  of  it,  she  had 
arranged  the  party  largely  in  order  to  meet 
him.  She  felt  certain  that  she  could  count  on 
him  as  an  ally,  in  the  plans  she  was  working 
out. 

"You've  known  Miss  Moran  for  quite  a  long 
time,  haven't  you?"  she  asked,  after  some  pre- 
liminary fencing. 

"Why,  yes,  Mrs.  Kramer.     Several  years." 

"Delightful  girl.  You're  engaged  to  her,  I 
understand."  This  was  not  entirely  a  shot  in 
the  dark.  Joy  had  permitted  Romain  to  be- 
lieve her  engaged,  and  he  had  mentioned  the 
fact  quite  casually  to  some  of  the  others  in 
the  cast. 

ARTHUR  hesitated.  He  was  not  engaged 
to  Joy,  but  he  had  always  hoped,  expected 
to  be. 

"Just  why  do  you  say  that?"  he  asked. 

"I  don't  know.  Someone  said  you  were — I 
don't  remember  just  who." 

"Well — we  aren't  engaged — not  formally, 
that  is.  But  a — a  sort  of  understanding. 
Why?" 

"Oh — no  reason  in  particular,  except  that 
you  are  to  be  congratulated.  Joy  is  a  charming 
girl.  Everybody  likes  her.  Even  the  great 
and  only  Jean  Romain  is  quite  open  in  his 
admiration." 

"So  I've  heard."  Lloyd's  eyes  darkened. 
"But — he's  engaged  himself." 

"Yes.  And  Margot  Gresham  isn't  any  too 
pleased.  But  I  fancy  Romain  isn't  going  to 
give  up  the  Gresham  millions,  so  he's  being 
careful." 

"Careful?     Do  you  mean  to  say — " 

"I  don't  mean  to  say  anything,  Mr.  Lloyd. 
But  you  know  how  people  gossip.  Have  you 
ever  met  him?" 

"No.  And  I  don't  want  to.  In  fact,  I've 
never  had  any  use  for  the  fellow  since  that 
scandal  over  the  death  of  his  wife." 

"Oh — so  you've  heard  that  too,  have  you?" 

"Yes.  Something  mighty  queer  about  it, 
they  tell  me." 

"Who  tells  you?" 

"Friends  of  mine,  who  were  living  here  in 
Hollywood  at  the  time." 

Helen  Kramer's  opalescent  eyes  glowed. 
Here,  as  she  had  hoped,  was  the  very  tool  she 
was  looking  for — a  man  whose  dislike  for  Ro- 
main, on  account  of  Joy,  would  cause  him  to 
stop  at  nothing  to  injure  him.  If  only  she 
could  use  him  to  further  her  ends — to  break 
up  the  match  between  Romain  and  Margot 
Gresham.  Unfortunately,  Lloyd  would  have 
no  interest  in  breaking  it  up,  per  se.  No  doubt 
he  would  far  rather  see  the  two  married,  if  thus 
Romain  would  be  removed  as  a  possible  rival. 
But  Mrs.  Kramer's  plans  went  deeper.  She 
wanted  information,  evidence  against  the 
famous  star,  not  to  expose  him  publicly,  but 
to  make  use  of  herself,  to  force  him  to  give 
up  Margot  and  turn  to  her,  under  threat  of 
ruin.  And  in  spite  of  what  she  had  told  Joy, 
she  did  not  possess  that  evidence,  although  she 
believed  she  knew  how  to  get  it. 

"There  was  something  queer  about  the 
affair,"  she  admitted.  "A  good  many  people 
believe  that  Romain  was  present  when  his  wife 


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was  shot,  but  no  one  seems  able  to  prove  it." 
"No,"   Lloyd  growled.     "He   managed  to 
cover  up  his  tracks,  didn't  he?" 

"It  seem  so.  Of  course  I  don't  really  know 
anything  about  the  matter  myself,  and  I  have 
no  reason  to  wish  Jean  any  harm.  We  all 
think  too  much  of  him  for  that.  But  he  has 
been  going  it  a  bit  strong  with  Joy,  and  I 
thought,  as  a  friend,  I'd  tell  you." 

"But — what's  he  done — how  far  has  the 
thing  gone?"  Arthur  demanded  savagely. 
"That's  twice  you've  hinted — " 

"It  really  wasn't  anything  very  terrible.     If 
I  tell  you,  will  you  promise,  on  your  honor, 
never  to  repeat  it?" 
"Yes." 

"Well — I  overheard  him  tell  her,  one  night, 
that  she  attracted  him  more  than  any  woman 
he  had  ever  met.  He  was  holding  her  hands, 
and—" 

"The  dirty  hound!"  Lloyd  started  to  rise, 
but  Mrs.  Kramer  stopped  him. 

"Dear  me,"  she  laughed.    "If  you're  going 
to  carry  on  like  that,  I  won't  tell  you  another 
thing.     It  was  perfectly  harmless." 
"Harmless!    I'd  like  to  break  his  neck!" 
"But — you  say  you're  not  engaged  to  Joy." 
"I  love  her.     Isn't  that  enough?" 
"Then  listen  to  to  me.    I'm  going  to  be  very 
frank  with  you,  because  I  like  you — and  I  like 
Joy.    I  don't  want  to  see  her  fallfor  the  sort 
of  bunk  Jean  Romain  hands  out  to  women. 
So  I'm  going  to  help  you.    But  you  must  see 
that  to  do  or  say  anything  openly  would  only 
result  in  harm.    Joy  would  resent  it,  Romain 
might,  in  a  spirit  of  anger,  break  his  engage- 
ment, or  Miss  Gresham  might,  and  then  where 
would  you  be?     You'd  lose  out  all  around. 
You  see  that,  don't  you?" 

"Yes,"  he  muttered.     "I  suppose  so." 
"It's  true.    But  in  another  way,  it  may  be 
possible    to   save   Joy   from   doing   anything 
foolish,  and  still  not  let  the  public  at  large 
know  anything  about  it." 
"What  way?" 

"I'll  tell  you.    But — remember  your  prom- 
ise.   If  you  mention  this  to  anyone — anyone  at 
all — you  will  get  us  all  in  a  peck  of  trouble." 
"I  won't  say  anything.     I've  told  you  that." 

"\  TERY  well.    Now  here's  my  plan.    I  want 


*  you  to  follow  out  a  certain  line  of  in- 
vestigations I'm  not  in  a  position  to  follow  out 
myself,  and  see  if  you  can't  learn  the  truth 
about  that  night  when  Mrs.  Romain  was  shot. 
Then,  if  you  do,  bring  the  results  to  me.  With 
Romain  in  my  power,  I'll  guarantee  to  prevent 
any  possibility  of  an  affair  between  him  and 
Joy  Moran.     Will  you  do  exactly  as  I  say?" 

"Yes." 

"Good!  Now  I  am  going  to  tell  you  some- 
thing no  one  else  in  Hollywood  knows — some- 
thing I  should  have  told  the  police  at  the  time, 
but,  for  reasons  of  my  own,  didn't.  You  may 
remember  that  at  the  inquest  it  was  brought 
out  that  Mrs.  Romain  was  shot  several  hours 
before  her  husband  returned  to  the  house. 
Margot  Gresham's  chauffeur,  who  drove  him 
home,  testified  to  that.  The  shooting,  it  was 
agreed,  must  have  taken  place  about  ten 
o'clo'k  or  half  past,  at  which  time,  according 
to  Miss  Gre.ham  and  her  maid,  Romain  was 
with  her,  at  her  bungalow." 

"Now  here  is  the  peculiar  thing  I  am  going 
to  tell  you.  I  was  restless  that  evening — didn't 
know  what  to  do  with  myself.  Steve — that's 
my  husband — had  gone  to  a  poker  party. 
After  I'd  attempted  to  read  a  magazine,  and 
gotten  thoroughly  bored,  I  decided  to  go  out 
for  a  walk.  It  was  a  thick,  foggy  night.  I 
walked  for  half  an  hour  or  more,  and  finding 
myself  in  the  neighborhood  of  the  Romains' 
house,  decided  to  go  in  and  call  on  them.  Just 
as  I  was  approaching  the  entrance  gate,  I  saw 
a  man  going  up  the  walk  to  the  house,  about 
fifty  feet  away  from  me." 

"Romain?"  Lloyd  asked  eagerly. 

"No.  It  wasn't  Romain.  It  was  a  smaller 
man,  shorter,  slighter.  His  back  was  toward 
me— I  couldn't  see  his  face.  He  went  into  the 
house,  and  it  was  Mrs.  Romain  who  admitted 
him.     I  know,  because  as  the  door  opened  I 


saw  her,  silhouetted  against  the  light  from  the 
inside,  and  wearing  the  same  negligee  she  had 
on  when  she  was  killed.  That  was  about  nine 
o'clock." 

Lloyd's  face  fell.  "I  don't  see  what  that 
proves,"  he  said.  "At  least,  nothing  that  could 
harm  Romain.  It  might  have  been  a  tramp, 
as  the  papers  suggested." 

"No.  It  couldn't  have  been  a  tramp — not 
even  a  stranger — for  then  you  see,  Mrs.  Ro- 
main wouldn't  have  let  him  in.  She  closed  the 
door  after  him,  for  I  saw  her,  so  it  must  have 
been  someone  she  was  expecting.  A  few  mo- 
ments later  the  lights  in  the  living  room  went 
on,  but  the  shades  were  down,  so  of  course  I 
couldn't  see  anything.  And,  having  no  sus- 
picion of  the  tragedy  that  was  about  to  hap- 
pen, I  gave  the  matter  no  further  thought. 
You  see,  for  all  I  knew  at  the  time,  Romain 
was  in  the  house  as  well,  and  the  visitor  might 
have  been  some  friend  of  the  family. 

"But  when  the  investigation  snowed  that 
Romain  wasn't  there,  that  he  had  gone  right 
out  after  dinner,  to  meet  Miss  Gresham  at  her 
studio,  I  came  to  the  conclusion  that  the  man 
I  had  seen  was  more  than  a  friend,  that  he 
was,  in  fact,  Mrs.  Romain's  lover. 

"Now,  let  us  suppose  that  he  was.  Mrs. 
Romain  was  a  gay,  pleasure-loving  woman  who 
used  to  be  on  the  stage,  and  I  guess  she'd 
always  been  accustomed  to  having  men  in  love 
with  her.  Now  suppose  this  man  was  dis- 
covered there,  later  on,  by  Romain.  And  sup- 
pose Romain  shot  his  wife  because  she  had 
been  unfaithful  to  him.     What  then?" 

"It  sounds  plausible  enough,  but  why  wasn't 
it  all  brought  out  at  the  inquiry?" 

"Because  no  one  knew  of  the  visit  of  this 
man  but  myself,  and  I  didn't  say  anything. 
The  man  must  have  driven  up  in  a  car,  but,  if 
he  did,  he  left  it  further  down  the  block,  and 
walked  to  the  house.  Apparently  no  one  saw 
him  but  myself.  You  remember,  it  was  a 
foggy  night.  How  he  got  away,  we  don't 
know,  but,  if  we  could  find  that  man,  we  could 
find  out  the  truth." 
"If  he  would  tell  it." 

"He  would  tell  it,  I'm  sure,  if  he  knew  that 
refusal  to  tell  it,  for  our  private  use,  would 
result  in  my  taking  my  story  to  the  police. 
And  that,  of  course,  we  don't  any  of  u^  want 
to  do.  I  have  not  the  slightest  desire  to  injure 
Romain  publicly.  But  don't  you  see  that  if 
we  could  get  a  confession  from  this  man — a 
statement  of  what  actually  happened — we 
would  never  have  to  make  it  public?  Romain 
would  be  helpless." 

"You  don't  like  him  either,  do  you?"  Lloyd 
asked  suddenly. 

~K  A RS.  KRAMER'S  long,  oblique  eyes  became 
J-VJ.  iike  narrow  slits  of  jade. 

"Oh  yes,  I  do,"  she  said  carelessly.  "Very 
much.  And  I  really  don't  want  to  hurt  him. 
That's  why  I've  asked  you  to  promise  not  to 
repeat  what  I've  told  you." 

"I  can't  see  that  it  makes  much  difference," 
Lloyd  replied  grimly.  "You  saw  a  man  enter 
the  house,  but  what  does  that  amount  to? 
Unless  you  know  who  the  man  was,  you're  no 
further  ahead  than  you  were  before,  and  to 
look  for  him  would  be  like  looking  for  a  needle 
in  a  haystack." 

"Do  you  think  so?  Well,  you're  mistaken. 
I  knew  Mrs.  Romain  fairly  well — knew  the 
names  of  the  men  she  was  carrying  on  with. 
And  at  that  particular  time  there  were  two. 
And  I  was  able  to  find  out  that  on  the  night 
in  question  one  of  them  was  in  New  York." 

"Ah!"  Lloyd's  eyes  glittered.  "Then  you 
do  know  who  the  man  was?" 

"Yes." 

"Tel'  me  his  name?" 

Helen  Kramer  lazily  spread  out  her  huge 
ostrich-plume  fan. 

"Not  yet,"  she  replied.  "But  if  you  find  out 
that  there  really  is  anything  in  this  talk  about 
Romain  and  Joy — if  you  reach  the  point  where 
you  are  ready  to  act,  come  to  me,  and  I  will 
tell  you."  She  rose.  "We'd  better  join  the 
others,  don't  you  think.  They'll  be  wondering 
what  has  become  of  us." 


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CHAPTER  XVII 

DURING  the  week  which  followed  the  ar- 
rival of  Arthur  Lloyd  in  Hollywood,  Joy 
saw  little  of  Jean  Romain.  While  maintaining 
an  outward  show  of  friendship,  the  two  in 
reality  tried  to  avoid  each  other.  Joy  knew 
that  Romain  supposed  her  to  be  engaged  to 
Arthur  Lloyd,  and  made  no  effort  to  undeceive 
him.  It  was  better,  she  argued,  for  him  to 
think  that,  and,  to  lend  color  to  the  idea,  spent 
most  of  her  evenings  with  Lloyd.  Both  of 
them  were  busy,  during  the  day;  the  Royal's 
big  picture  was  progressing  rapidly,  under  the 
driving  force  of  Mr.  Davidson  and  his  as- 
sistants, and  Joy  had  few  moments  to  herself. 
Most  of  the  love  scenes  between  Romain  and 
herself,  however,  still  remained  to  be  shot,  as 
well  as  the  dance  in  the  House  of  the  Sirens 
which  preceded  them. 

Joy  looked  forward  to  this  part  of  the  picture 
with  inward  trepidation.  She  insensibly  feared 
Romain — feared  herself,  too,  in  such  close  as- 
sociation with  him.  The  exotic  dance  which  was 
to  divert  the  love-thoughts  of  the  Persian  con- 
queror from  his  Egyptian  princess  to  herself 
was  likely,  she  felt,  to  stir  up  emotions  in  both 
of  them  which  had  better  be  left  quiescent, 
but  she  was  in  for  it  now,  and  determined  to 
go  through  with  the  thing  to  the  best  of  her 
ability.  Meanwhile,  she  played  about  lightly 
enough  with  Arthur  Lloyd,  listened  patiently 
but  without  encouragement  to  his  continual 
love-making,  thought  of  Philip  Watrous  and 
what  he  expected  of  her,  and — did  nothing. 
Margot  Gresham  was  still  with  her  father  in 
San  Francisco.  A  lull,  it  seemed,  before  the 
coming  storm. 

At  last  the  day  for  shooting  the  dance  scene 
arrived.  The  various  scenes  which  preceded 
it,  showing  the  entrance  of  the  Persian  prince 
and  his  followers  into  the  House  of  the  Sirens 
had  been  taken,  their  reception  by  the  women 
of  the  place,  with  its  drinking  and  carousing 
had  all  been  rehearsed,  shot,  but  Joy's  dance 
as  Hermione,  the  Greek  courtesan,  had  not 
been  rehearsed  in  public,  with  the  exception 
of  her  entrance  and  exit,  and  these  not  in  cos- 
tume. She  had  arranged  the  dance,  at  Mr. 
Davidson's  suggestion,  with  a  specialist  in 
Oriental  dancing,  Madame  Soule,  in  private, 
and  they  had  been  working  on  it  for  over  a 
week.  The  part  of  Hermione  was  not  merely 
that  of  a  dancer;  had  this  been  the  case,  a 
dancing  woman  might  have  been  engaged,  but 


tempestuous  grace,  the  camera  men,  the  di- 
rectors, the  extra  people  were  forgotten,  every- 
thing forgotten,  in  fact,  save  one  emotion  that 
swept  over  her  as  she  first  met  Romain's  blaz- 
ing eyes — the  sure  knowledge  that  she  loved 
him  with  every  quick  beat  of  her  heart,  every 
passionate  breath  of  her  body. 

The  few  moments  occupied  by  the  dance 
seemed  to  her  ages.  As  the  silver  shawl  un- 
wound itself,  leaving  her  figure  more  and  more 
exposed,  she  experienced  a  feeling  of  embar- 
rassment, of  shame,  but  it  was  momentary. 
To  Joy,  dancing  was  an  art;  she  loved  it,  as 
the  Greeks  loved  it,  felt  in  it  a  perfect  expres- 
sion of  the  emotions.  And  those  emotions  had 
at  last  become  clear  to  her.  She  knew,  now, 
why  she  had  been  unable  to  take  the  first  step 
in  carrying  out  Mr.  Watrous's  plans.  Some- 
thing of  what  she  felt  must  have  been  sensed 
by  those  about  her.  No  one  spoke.  Mr. 
Davidson,  standing  beside  Mrs.  Soule,  con- 
tented himself  with  a  single  whispered  word, 
"Magnificent!"  but  there  were  many  in  that 
little  group  who  realized  that  a  new  and  vivid 
star  had  swept  across  the  screen  firmament. 
They  understood  the  difference  between  danc- 
ing a  dance,  and  acting  it,  and  Joy  had  made 
the  scene  between  Romain  and  herself  a  love 
scene,  without  words.  In  both  her  appeal,  and 
his  response  to  it,  there  was  something  elec- 
trical. When,  as  called  for  by  the  action,  the 
Persian  chieftain  rose  from  his  seat  at  the  con- 
clusion of  the  dance,  and  taking  the  Greek  girl 
in  his  arms  strode  from  the  hall,  a  little  rustle 
of  applause  went  up.  The  onlookers  felt  that 
they  had  witnessed  something  real,  as  indeed 
they  had,  so  far  as  Joy  was  concerned,  although 
they  put  it  down,  for  the  most  part,  to  superb 
acting. 

Romain  had  only  to  carry  Joy  through  the 
curtains,  and  thus  beyond  the  limits  of  the 
scene,  but  in  that  brief  space  he  found  time  to 
do  two  things.  The  first  was  to  kiss  her  bare 
shoulder,  burningly,  passionately,  as  he  had 
kissed  it  once  before.  The  second  was  to 
whisper  that  she  was  the  loveliest  thing  that 
he  had  ever  seen  in  his  life.  His  voice  was 
harsh  with  feeling.  Joy  said  nothing.  The 
reaction  from  her  emotional  effort  left  her  list- 
less, still. 

She  received  the  congratulations  of  Mr. 
Davidson,  of  Mrs.  Soule  in  silence,  and 
throwing  a  kimona  about  her,  slipped  to  her 
dressing  room.  Her  work  for  the  afternoon 
was  over, 
the  young  Greek  slave  who  caught  the  fancy 

of  the  conquering  Persian  held  an  important     /^\NCE  in  her  room,  she  threw  herself  on  the 
rolp  in   the  nlav.   and   her  snhserment   scpnes      '—'wicker  dav  bed  and  lav  verv  still.     What 


role  in  the  play,  and  her  subsequent  scenes 
with  Romain,  with  the  Egyptian  princess  who 
loved  him,  made  it  necessary  for  her  to  be  an 
actress  as  well.  Mr.  Davidson  particularly 
wished  her  to  make  this  dance  passionately 
appealing  and  beautiful;  he  expected  it  to  be 
one  of  the  high  spots  in  the  film. 

When  Joy  suddenly  emerged  through  the 
heavy  silk  curtains  which  hung  between  two 
columns  at  one  end  of  the  hall,  and  confronted 
the  cameras,  the  crowd,  a  murmur  of  admira- 
tion greeted  her.  A  circular  space  had  been 
left  clear,  directly  before  the  seat  occupied  by 
the  young  Persian,  and  in  this  space  she  and 
Mrs.  Soule  had  worked,  day  after  day,  until 
every  step  and  posture  of  the  dance  had  been 
timed,  perfected.  When  the  curtains  parted, 
and  Joy's  slender  figure  appeared,  Romain 
fixed  her  with  an  eager  glance  which  thereafter 
never  left  her. 

She  wore  a  startling  costume  which  Mrs. 
Soule,  assisted  by  Steve  Kramer,  had  adapted 
from  one  of  the  figures  in  a  picture  of  the  Feast 
of  Belshazzar,  by  a  noted  French  artist.  It 
consisted  largely  of  a  filmy,  diaphanous  shawl 
or  veil  of  the  sheerest  silver  cloth,  embroidered 
with  pearls  and  tiny  brilliants,  like  sparks  of 
fire.  And  Joy  herself  was  like  fire,  as  she  swung 
from  the  first  measured  steps  of  the  dance  into 
the  passionate  and  sinuous  movements  which 
were  to  turn  the  heart  of  the  Persian  warrior. 
Again  she  danced  to  him,  as  she  had  danced 
that  day  beside  the  pool;  with  her  eyes,  her 
lips,  with  every  fibre  of  her  beautiful,  pulsing 
body,  her  flaming  spirit;  danced  with  wild, 


'wicker  day  bed  and  lay  very  still.  What 
folly,  she  asked  herself,  to  imagine  that  she 
loved  Romain!  A  man  who  was  engaged  to 
another  woman — who,  it  was  rumored,  had 
been  guilty  of  the  death  of  his  own  wife — and 
above  all,  whose  exposure  had  been  the  prime 
reason  for  her  coming  to  Hollywood.  A  fierce 
desire  to  protect,  to  help  him  rose  in  her 
breast.  Even  if  it  resulted  in  his  marriage  to 
another  woman. 

The  tumult  of  her  thoughts,  the  physical 
effort  she  had  just  made,  during  her  dance,  left 
her  worn  out.  Even  the  noise  made  by  the 
extra  people,  dressing  in  the  big  concrete  room 
below,  failed  to  disturb  her.  Very  tired,  she 
closed  her  eyes,  and  a  moment  later  was  fast 
asleep. 

A  knock  at  the  door  of  her  room  only  par- 
tially aroused  her.  Mrs.  Soule  perhaps,  coming 
to  renew  her  congratulations,  she  thought,  as 
she  got  drowsily  to  her  feet  and  crossed  the 
room. 

It  was  almost  dark,  in  there,  in  spite  of  the  dim 
light  which  filtered  through  the  single  dusty 
window. 

As  she  opened  the  door  someone  stepped 
into  the  room,  caught  her  in  a  fierce  embrace. 
Blindly,  instinctively  she  struggled  to  free 
herself,  tried  to  fight  the  intruder  off.  Then 
she  heard  a  voice,  low,  very  tender,  speaking 
to  her. 

"Joy!"  it   said  huskily — "my   sweet  little 

Joy!" 

It  was  the  voice  of  Jean  Romain. 

[  END  OF  FOURTH  INSTALLMENT  ] 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


'25 


Casts  of  Current 
Photoplays 

[  CONTINUED  FROM  PAGE  1 1  2  ] 

"STEPPING  FAST"— Fox— Story  and 
scenario  by  Bernard  McConville.  Director, 
Joseph  Franz.  Photography  by  Dan  Clark. 
The  cast:  Grant  Malvern,  Tom  Mix;  Helen 
Durant,  Claire  Adams;  Jerome  Fabian,  Donald 
McDonald;  Martinez,  Hector  Sarno;  Sun  Yat, 
Edward  Peil,  "Red"  Pollock,  George  Seig- 
mann;  Quentin  Durant,  Tom  S.  Guise;  Com- 
modore Simpson,  Edward  Jobson;  Miss  Hig- 
gins,  Ethel  Wales;  Mrs.  Malvern,  Minna  Ferry 
Redman. 

"THE  CRITICAL  AGE"— W.  W.  Hod- 
kinson — A  picturization  of  "Glengarry  School- 
days." By  Ralph  Connor.  Director,  Henry 
McRae.  Photography  by  Barney  McGill. 
The  cast:  Tom  Findlay,  James  Harrison; 
Ma  Findlay,  Alice  May;  Peter  Gerrach,  Harlan 
Knight;  Margaret  Baird,  Pauline  Garon; 
Mr.  Baird,  member  of  Parliament,  Wm.  Colvki; 
Mrs.  Baird,  Marion  Colvin;  Bob  Kerr,  Wallace 
Ray;  Mr.  Kerr,  member  of  Parliament,  Ray- 
mond Peck. 

"SIXTY  CENTS  AN  HOUR"— Para- 
mount— Story  by  Frank  Condon.  Adapted  by 
Grant  Carpenter.  Director,  Joseph  Henabery. 
Photography  by  Faxon  M.  Dean.  The  cast: 
Jimmy  Kirk,  a  soda-jerker,  Walter  Hiers; 
Mamie  Smith,  his  sweetheart,  Jacqueline  Logan; 
William  Davis,  Jimmy's  rival,  Ricardo  Cortez; 
James  Smith,  a  banker,  Charles  Ogle;  Mrs. 
Smith,  Mamie's  mother,  Lucille  Ward;  Store- 
keeper, Robert  Dudley;  Three  Crooks:  Clarence 
Burton,  Guy  Oliver,  Cullen  Tate. 

"DOUBLE  DEALING3^Universal— Story 
by  Henry  Lehrrnan.  Scenario  by  George  C 
Hull.  Director,  Henry  Lehrrnan.  Photog- 
raphy by  Dwight  Warren.  The  cast:  Ben 
Slowbell,  Hoot  Gibson;  The  Slavey,  Helen 
Ferguspn;  Stella  Fern,  Betty  Francisco;  Alonzo 
B.  Keene,  Eddie  Gribbon;  Mother  Slowbell, 
Gertrude  Claire;  Uriah  Jobson,  Otto  Hoffman; 
The  Sheriff,  Frank  Hayes;  Jobson's  Assistant, 
Jack  Dillon. 

"THE  PRODIGAL  SON"— Stoll  Film  Co., 
Ltd. — No  cast  available. 


Questions  and  Answers 

[  continued  from  page  108  ] 

E.  G.,  Wheeling,  Va. — With  the  sage  little 
premise  that  you  "are  not  a  man  hunter 
because  you  are  only  sixteen"  you  seek  in- 
formation about  Jack  Hoxie  and  "Hoot" 
Gibson.  I  quite  understand,  and  I  hope  that 
Jack  and  "Hoot"  will,  that  your  interest  in 
them  is  platonic  and  artistic.  Jack  Hoxie  is 
married.  His  wife's  name  is,  or  was,  Marian 
Sais.  His  address  is  the  Arrow  Film  Corpora- 
tion, 220  West  42nd  Street,  New  York  City. 
Yes,  there  is  a  Mrs.  "Hoot"  Gibson.  The 
ages  of  the  clever  little  Lees  are,  Catherine  13, 
and  Jane   10  years. 

"Alex  of  Texas." — Delighted  to  oblige. 
Pity  you  do  not  give  me  permission  to  publish 
your  real  name.  It  has  the  beauty  of  rhythm. 
I  am  ninety-nine  percent  sure,  too,  that  it  was 
the  title  of  one  of  Ella  Wheeler  Wilcox's  longest 
poems.  Mayhap  your  mother  admired  the 
late  poet  and  named  you  in  memory  of  the 
poem.  But  'twas  of  Ramon  Novarro  you 
wrote.  Pardon  me.  The  popular  young  man 
appeared  in  "The  Prisoner  of  Zenda,"  "Tri- 
fling Women"  and  "Where  the  Pavement 
Ends."  While  I  write  this  he  goes  to  the 
studio  every  day  to  get  into  the  skin  of  the 
name  character  in  his  faext  photodrama,  a 
picturization  of  "Scaramouche,"  the  novel  by 
Sabatini.  Sidney  Blackmer  will  be  seen  in 
the  spoken  version  of  the  novel  next  season. 


Beauty 

EvarUrfW 


oman, 


Attractiveness  —  real  and  irresistible  — 
does  not  always  mean  beauty  of  feature. 
More  frequently  it  is  the  result  of  the  per- 
fection of  care  and  attention  given  to 
yourself  as  you  are  —  it  is  the  absence  of 
wrinkles    around    the    nose,    eyes    and 


Secrets 

Should  ^Qiour 


mouth;  the  firm  contour  of  cheeks,  neck, 
bust;  the  rose-petal  complexion  and  per- 
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Margaret  de  Lancey,  Waterbvry,  Conn. 
— Settle  a  bet?  My  dear  Margaret,  how 
thrilling.  Reminds  me  of  the  wave  of  excite- 
ment that  swept  over  me  when  I  stood  before  a 
roulette  wheel  at  Monte  Carlo  and  heard  the 
croupier  say,  "You've  won."  He  said  it  in 
French.  I  might  have  thought  he  was  calling 
me  a  short  and  ugly  name.  But  no.  The  heap 
of  golden  coins  on  the  table  was  unmistakable. 
I  gathered  it  in  my  hands  and  tottered  to  a 
velvet  covered  settee  to  count  them.  My 
knees  did  a  shimmy.  My  teeth  did  the 
castanct  accompaniment  for  a  Spanish  dance. 
Ah.  yes,  I  know  the  gambling  symptoms. 
That's  why  I  sympathize  with  you,  Miss  De 
Lancey,  and  answer  your  letter  "immediately 
on  receipt,"  as  the  business  man — which  I  am 
not — would  say.  You  wouldn't  call  a  remit- 
tance man  a  business  man,  now  would  you, 
Margaret?  However,  enough  of  me.  You  say 
that  in  the  April  issue  of  Photoplay  Magazine 
you  read  the  third  installment  of  Rodolph 
Valentino's  Life  Story.  You  refer  to  a  photo- 
graph of  a  young  man  with  a  cute  little 
moustache  and  that  "beside  it  is  written 
'Valentino  once  grew  a  moustache  in  order  to 
look  like  Xorman  Kerry.'  "  You  want  to  know 
whether  the  photograph  is  that  of  Rodolph 
Valentino  before  the  barber  committed  a 
surgical  operation  upon  his  moustache  or 
whether  the  picture  is  that  of  Norman  Kerry. 
Mr.  Kerry  must  plead  guilty. 

Rose  McLaughlin,  Mansfield,  Ohio. — 
Sweet  Rose!  Could  George  M.  Cohan  know 
thy  splendid  Americanism  he  would  engage 
thee  for  a  role  in  his  next  production.  Yea, 
verily.  "Hoot"  Gibson  will  be  pleased  to 
know  how  you  admire  him.  Men  admit  to 
being  a  hundred  per  cent  human.  'Tis  human 
to  glow  under  appreciation.  His  age?  Fie, 
fie,  Rose!  Well,  he's  thirty-one.  After  all  a 
popular  age  for  a  man.  Yeg,  he's  married. 
His  admirers  address  him  "Care  Universal." 

Yes,  Rose,  I  agree  with  you.  Walter 
McGrail  gives  evidence  of  being  a  real  sport. 
Must  you  know  how  old  he  is?  Rose,  Rose! 
When  you  are  thirty-four  what  will  you  say  of 
folk  who  ask  you  such  personal  questions?  But 
never  mind.  Men  can't  have  everything  their 
own  way.  This  is  woman's  era.  He's  four  and 
thirty.  Make  the  best  of  it.  Yes.  Married. 
A  letter  addressed  to  him  at  the  Lasky  Studios 
will  meet  his  eye.  Perhaps  that  of  his  wife. 
Safety  first! 

MlTTY  AND  MlLLY,  DETROIT,  MINNESOTA. — 

Little  human  interrogation  points  are  you. 
Ever  think  of  going  into  journalism,  where  you 
can  earn  a  living  by  asking  questions?  Glad  to 
oblige.  Ivor  Novello  can  be  reached,  figurative- 
ly speaking,  of  course,  at  David  Wark  Griffith's 
Studio.  Glenn  Hunter  is  swinging  gaily  along 
in  the  name  role  of  "Merton  of  the  Movies"  at 
the  Cort  Theater  on  West  Forty -eighth  Street 
in  New  York.  Harrison  Ford's  mail  is  ad- 
dressed Care  Menifee  Johnson,  206  West 
Harvard  Boulevard,  Los  Angeles,  California. 
Kenneth  Harlan's  goes  to  Preferred  Pictures.. 
Malcolm  McGregor's  to  Metro;  Lila  Lee's  to 
the  Famous  Players;  Niles  Welsh's  to  the 
Universal;  Claire  Windsor's  to  the  Famous; 
Agnes  Ayres  to  the  Famous.  Probably  photo- 
graphs of  the  late  and  deeply  lamented  Wallie 
Reid  could  be  secured  by  writing  his  wife. 

Mrs.  M.  L.  Ballard,  Cleveland,  Ohio. — 
Yes,  we  agree  with  you.  Programmes  of  screen 
plays,  as  those  of  the  stage,  may  be  as  confus- 
ing as  a  railroad  time  table  read  on  the  run.  In 
the  instance  of  Racing  Hearts,  with  Agnes 
Ayres  as  star,  it  was  Jerry  Wonderlick,  the 
autoracer,  who  taught  Agnes  Ayres  to  drive 
for  the  race.  Not  at  all.  You  may  direct  me 
to  Euclid  Avenue  should  I  visit  Cleveland. 

G.  B.,  New  York.— Was  Mrs.  Rodolph 
Valentino  a  dancer  when  she  was  young? 
Begging  your  pardon,  she  is  young  and  is  a 
dancer.  As  Winifred  Hudnut  (Natacha 
Rambova)  she  was  a  dancer  and  art  director 
before  she  became  Mrs.  Valentino. 


P.  O'C,  Bridgeport,  Conn. — So  you  would 
add  to  your  gallery  of  cinema  celebrities,  Miss 
O'C?  Why  not?  To  acquire  a  photograph  of 
Natacha  Rambova  write  a  pretty  letter  to  50 
West  Sixty-seventh  Street.  A  picturesque 
studio  apartment  house  that,  where  Kitty 
Gordon  lived  before  she  opened  a  beauty 
atalier  and  where  Emily  Stevens  resided  while 
she  was  recovering  from  banting  forty  pounds 
off  her  fair  person  in  eight  weeks.  It  is  two 
minutes'  walk  from  Central  Park  and  they  do 
say  that  Natacha  Rambova,  who  lives  just 
around  the  corner,  passes  a  blacksmith  shop  on 
the  way  so  that  she  may  find  lucky  horse 
shoes.  But  you  were  asking  how  you  might 
secure  a  photograph  of  Ramon  Novarro.  Write 
Metro.  Ivor  Novello?  Isn't  that  dark  eyed 
young  man  becoming  popular?  He's  pressing 
several  stars  for  popularity.  Changing  the 
subject  slightly,  have  you  noticed  how  much 
he  resembles  Joseph  Schildkraut,  whom  some 
rhapsodist  said  is  "the  handsomest  man  in  the 
world"?  Forgive  my  wanderings,  P.  O'C. 
Mr.  Novello  can  be  found  if  you  address  him 
care  David  Wark  Griffith.  Mr.  Griffith  sends 
out  hurry  calls  for  him  to  rise  at  dawn  and  be 
at  the  studio  to  begin  a  picture  with  the  smell 
of  the  dew  in  his  nostrils  and  the  rays  of  the 
rising  sun  in  his  eyes.  No  trouble,  dear  Miss 
P.  O'C.  Well,  if  you  insist,  I  will  accept  an 
invitation  to  tea  if  I  am  in  Bridgeport. 

Marte  Lorene,  Winamac,  Indiana. — 
Spare  my  blushes,  dear  girl.  No,  I'm  not 
married  but  I  might  be  some  day.  Wives  find- 
ing old  letters  in  a  man's  desk  do  make  such  a 
fuss.  My  married  friends  tell  me  amazing 
stories,  when  they  are  not  telling  other  amazing 
stories  to  their  wives.  So  let  me  hide  behind 
my  screen  of  anonymity.  When  a  man  has 
modesty  encourage  him  to  retain  it.  It's  a 
jewel  so  rare,  don't  you  know? 

The  rest  of  your  budget  of  queries  I  answer 
with  a  bow  and  my  hand  on  my  heart.  Ray- 
mond Bloomer  was  the  actor  who  played  with 
Mary  Pickford  in  "Love  Light."  How  do  I 
spell  the  hero's  name?  Correctly,  made- 
moiselle. Ha,  ha!  Yes,  it  is  something  of  a 
poser.  Sessue  Hayakawa  is  the  hero  of 
"Five  Days  to  Live."  Yes,  he  is  sentenced. 
I  mean  married.  Antonio  Moreno,  too,  is 
married.  The  newspapers  printed  that,  to 
you  movie  maids,  melancholy  fact  a  month  or 
two  ago.  He  wedded  Mrs.  Daisy  Danziger. 
He  has  reached  the  fascinating  age  of  thirty- 
five.  Fascinating  because  it  is  not  old,  to  any 
woman,  nor  too  young  for  any.  Remember 
that  Lillian  Bell  wrote  her  contempt  for  a  man 
under  thirty-five  and  then  married  one?  But 
she  was  consistent,  for  she  divorced  him.  Yes, 
Marie  Lorene,  Rodolph  Valentino  abides  with 
his  wife.  Why  not,  pray?  They  maintained 
different  apartments  only  until  his  matri- 
monial title  was  cleared  beyond  question. 

Carmelita,  Oxford,  Pa. — One  of  the  hand- 
somest men  in  America,  you  say?  All  right, 
Carmelita.  Yes,  that  was  an  attractive  picture 
of  him  that  was  printed  in  Photoplay  Mag- 
azine. He  has  made  appearances  recently  in 
"The  Girl  Who  Came  Back,"  "The  Beautiful 
and  Damned,"  "The  Little  Church  Around 
the  Corner,"  "April  Showers,"  and  "The 
Broken  Wing."  His  plans  and  specifications 
are — height,  five  feet  eleven  inches;  weight, 
165  pounds.  He  was  married.  There — that's 
over.  The  truth,  like  murder,  will  out. \  He 
was  on  the  stage  in  the  "legitimate"  and 
acquainted  with  vaudeville  circuits  before  he 
adopted  the  screen.  That  adoption  occurred 
in  191 7.  Dorothy  Davenport  Reid  is  at  work 
on  the  photo  drama,  "The  Sinning  Dead." 

D.  C,  Mondoir,  Wis. — Pola  Negri  and 
Charlie  Chaplin  must  be  engaged.  One  may 
not  doubt  a  lady's  word  on  such  a  subject. 
Miss  Negri  says  they  are  engaged.  Betty 
Compson's  address  is  Famous  Players  Studio, 
1620  Vine  St.,  Hollywood,  California.  Carmel 
Meyers'  address  is  care  of  Louis  B.  Mayer, 
Studios,  38  Mission  Road,  Los  Angeles,  Cali- 
fornia. 


iS 


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Photoplay  Magazine — Advertising  Section 

Edison  on  Pictures 


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Splendidly  written  short 
stories,  some  of  which  you 
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The  truth  and  nothing  but 
the  truth,  about  motion 
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You  have  read  this  issue  of 
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I 

When 


"T\7HOEVER  controls  the  motion  picture 

W  industry  controls  the  most  powerful 
medium  of  influence  over  people  in  the  world." 

Such  was  the  declaration  of  Thomas  A. 
Edison,  appearing  before  the  Federal  Trade 
Commission  as  that  body  took  testimony  to 
determine  whether  the  Famous  Players-Lasky 
Corporation  and  other  defendants  have  been 
acting  in  restraint  of  trade. 

Corroborating  Mr.  Edison's  estimate  of  the 
educational  influence  of  the  motion  picture 
came  the  statement  of  Dr.  J.  J.  Tigert,  U.  S. 
Commissioner  of  Education,  asserting  that 
the  average  human  being  receives  more  in- 
formation through  the  eye  than  all  the  other 
senses  combined,  and  that  in  the  future  history 
will  be  taught  by  pictures  on  the  screen. 
He  declared  that  the  educational  value  of 
pictures  is  just  beginning  to  be  felt. 

It  was  way  back  in  1887  that  Thomas 
Edison  started  to  make  possible  this  powerful 
medium.  A  kindly  old  gentleman  with  bright 
blue  eyes  under  bushy  brows,  he  took  the 
stand  and  read  from  a  paper  the  questions 
put  to  him  because  he  is  too  deaf  to  hear  an 
interrogator. 

"It  is  my  opinion  that  in  twenty  years 
children  will  be  taught  through  pictures  and 
not  through  books,"  said  Mr.  Edison — an 
impressive  statement  coming  from  one  whose 
power  of  foresight  has  proved  little  short  of 
occult.  "I  think  motion  pictures  have  just 
started.  There  is  nothing  so  powerful  as 
motion  pictures  in  influencing  people.  The 
power  will  increase  year  to  year. 

"T  have    made    numbers    of    investigations 

■*•  along  the  line  of  teaching  children  by  other 
methods  than  books.  I  made  an  experiment 
teaching  children  chemistry  with  a  lot  of 
pictures.  I  got  twelve  children  to  write  down 
what  they  had  learned  from  the  pictures  they 
had  seen.  It  was  amazing  to  me  that  such  a 
complicated  subject  as  chemistry  was  readily 
grasped  by  them  to  a  large  extent  through 
pictures.  The  parts  of  the  pictures  that  they 
did  not  understand  I  did  over  and  over  again, 
until  they  finally  understood  the  entire 
pictures." 

Mr.  Edison  started  his  experiments  which 
led  to  the  invention  of  the  motion  picture 
because  he  wanted  to  do  for  the  eye  what  he 
had  done  for  the  ear  in  disseminating  know- 
ledge. He  believes  that  eighty-five  per  cent 
of  knowledge  is  obtained  through  the  eye. 
He  elaborated  on  a  device  which  produced 
minute  sound  waves,  representing  pictures. 
He  developed  this  device  until  it  could  produce 
forty  pictures  in  a  second  and  named  it  the 
kinetograph.  He  had  to  make  a  machine 
which  was  not  a  projector  but  an  endless  tape. 
You  looked  through  an  aperture  at  the  re- 
volving tape  and  saw  the  picture.  After- 
wards he  enlarged  and  projected  the  pictures, 
but  not  for  financial  reasons.  To  make  pic- 
tures more  cheaply  the  motion  picture  in- 
dustry has  reduced  the  speed  to  fifteen  pictures 
per  second. 

"At  one  time  I  had  a  vision  of  remaking  the 
public  schools  of  the  country,  to  teach  every- 
thing with  motion  pictures,  but  I  ran  into  the 
schoolbook  publishers  and  saw  that  I  would  be 
beaten.  I  summoned  educators  from  New 
York  to  see  my  test.  They  were  delighted 
but  they,  went  back  to  New  York  and  never 
did  anything." 

When  asked  what  he  thought  of  the  future 
growth  of  the  motion  picture  industry,  the 
great  genius  said: 

"The  motion  picture  is  just  barely  started. 
It  has  been  developed  only  as  an  amusement 
feature.  Its  greatest  field  is  education. 
When  that  is  developed  all  the  children  will 
want  to  go  to  school.  We  will  have  lots  of 
highbrows.  But  just  in  its  present  state  it  is 
already  the  most  powerful  agency  in  existence 
for  influencing  opinion  and  thought.  It  far 
exceeds  the  radio  or  anything  the  radio  may 
achieve." 


you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


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128 


:»■■ — »« — »M^-i 


Photoplay  Magazine — Advertising  Section 


;We  are  advertised  by  our  loving  friends"]  l 


A 


Mellin's  Food 


This  robust  little  boy  shows  the  good  health  and 
happiness  that  is  .characteristic  of  babies  raised  on 
Mellin's  Food  and  milk. 

Write  today  for  a  copy  of  our  helpful  book,  "The  Core  and  Feeding  of  Infants",  and 
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ii     ii 


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Every  advoitlscmcnt  In  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


Can  you ? 


Can  you  stand  the  scrutinizing  glance  of  your 
admirers  at  the  beach  ? 

Can  you  wear  sheer  summer  frocks  which 
expose  your  arms,  underarms,  back  and  limbs  ? 

You  can  enjoy  the  summer  and  the  freedom 
of  the  beach  if  you  are  not  tormented  by  a  few 
unsightly,  unwanted  hairs. 


An  application  of  ZIP  today  will  do  much  to  re- 
move the  cause  of  embarrassment  from  unsightly 
hair  during  the  summer  months,  for  it  does  not  only  take 
off  surface  hair,  but  devitalizes  the  roots,  thus  treating  the 
cause  and  destroying  the  elements  which  produce  the  hair. 

Women  of  judgment  have  learned  to  distinguish  between 
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under  the  skin. 


IT'S  OFF 

because 

ITS  OUT 


ENJOY  \ 

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DELIGHTFUL 
PREPARATIONS 

Madame  Bertho  Superior 
Massage  and  Cleansing 
Cream  —  Guaranteed    not    to 

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Lara-'  fix*  jar 
(H  pound) S2.00 

Madame     Berthe      Antiseptic 

Tate— Delightf  nils. fragrant; 

absorbs  moisture,     ('an ,  25c 

Beautiful  olam  jar  .  .  7Sc 

Balm-o-Lem  —  A  FOUNTAIN 
OF  YOUTH  FOR  YOUR  SKIN. 
The  new  lemon  lotion. 
Soft' us  and  ichitrns  the 
skin.     Bottle 75c 

Ab-Scent — The  ideal  liquid 
deodorant.  Remedies  ex- 
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strous  odors  harmlessly, 
colorless  'contains  no 
staining  artificial  colors). 
Bottle 50c 

Laeh-Llfe—  Beautifies  the 
rites.      Tube 50c 

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Very  effective.     Bottle.   50c 

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not  to  grow  hair.  Five 
shades.     Box $1.00 


ZIPis  easily  applied  at 

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Not   only   removes    hair  — 
but  checks  its  future  growth. 

Ladies  everywhere  are  now  using  ZIP  for 
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^r       Madame 

f       Berlhe, 

^r       Specialist 

f        Dept.   925 

^r        562  Fifth  Avenue 

J^^B 

^r              New  York  City 

f    Please    send   mc    FREE 
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Safeguard   tomorrow's 
smile.    Wash  your  teeth 
with   Colgate's   Ribbon 
Dental   Cream.   It  con- 
tains no  grit  and  does  not 
scratch  or  scour.  Its  gentle 
washing  action  brings  out  Y 
and  preserves  the  beauty -. 
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t>„ilSH. 


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CLEANS 
f  TEETH  THE  \ 
RIGHT  WAY   V 

Washes' and  Polishes  J) 
>  Doesnt  Scratch  J  I 
Or  Scour 


Truth     in     Advertising    Implies     Honesty     in    Manufacture 


A  large  tube  costs  25c  at  your  favorite  store.  A  tube 
for  each  of  your  family  is  a  sound  investment  in  sound  teeth. 
If  you  wish,  we  will  send  you  a  generous  trial  tube.  Fill  in  your 
name  and  address  on  the  dotted  lines  and  mail  to  Colgate  &  Co. , 
Department  8,  Box  645,  City  Hall  Station,  New  York  City. 


Tour  J^ame.. 
^Address 


^jhe  C^Cational  Guide  to  Q^dotion  (Pictures 


ugust  25c 


r 


N.S.E. 


Vhat  oAre  the  Chances  of  a  beginner  Today 


The  beach  at  DcativiUe — summer  rendezvous 
of  h  from  all  the  world. 


mt  — 


Tr~\  Frm  Deauville 
J\ews  of  the  Day's 


^— ^  ?? 


Mode  de  Toilette 


V 


Deauville!  That  French  seaside  village  which 
becomes  for  a  few  short  weeks  the  rendezvous  of 
les  elegantes  from  all  the  world.  Deauville !  There 
one  naturally  looks  for  the  day's  mode  in  the  inti- 
mate affairs  of  the  toilette.  What,  then,  is  that  mode? 

Ah!  Madame,  it  is  so  simple!  In  the  very  words 
of  France,  it  is  this:  "On  ne  melange  jamah  les  par- 
fums, "  (one  should  never  mingle  varying  scents). 
Rather  should  one  choose  a  subtle  French  odeur 
which  will  lend  its  fragrance  to  each  article  of  the 
toilet  table. 

What,  then,  will  Madame  choose  but  Djer-Kiss,  supreme 
creation  of  Monsieur  Kerkoff,  which  brings  to  America  the 
very  spirit  of  Paris  herself.  Djer-Kiss ---that  alluring  French 
parfum  which  graces  with  its  fragrance  each  Djer-Kiss 
specialite —  Parfum,  Toilet  Water,  Vegetale,  Face  Powder, 
Talc,  Sachet,  Soap,  Rouges,  Compacts  and  Creams. 

If  Madame  knows  not  the  charm  of  Djer-Kiss, 
may  we  suggest  that  she  visit  to-day  her  favorite 
shop  and  learn  through  the  purchase  of  the 
Djer-Kiss  specialites  the  joy  of  a  perfect  harmony 
.  of  the  toilette. 

SPECIAL 

SAMPLE  OFFER 

In  return  for  15c  Monsieur 
Kerioff'sImportateursv/'Msend 
to  Madame  their  Parisian 
Paauet  containing  dainty 
samples  of  Djer-KissParfum, 
Face  Powder  and  Sachet. 
Address  Alfred  H.  Smith 
Company,  2fcWest  34th 
Street,  New  York  City 


..    1923.  A.  H.  S.  Co 


KERKOFF,  PARIS 

EXTRACT      •      FACE  POWDERS  TALC 

TOILET  WATER      .     VEGETALE      •     SACHET      •     ROUGE 
LIP  ROUGE    •    FACE  CREAMS    •    SOAP    •    BRILLIANTINE 

These  specialites — Rouge.  Lip  Rouge,  Compacts  and  Creams— blended  here 
with  pure  Djer-Kiss  Parfum  imported  from  France 


Djer-Kiss  Talc!  The 
best  Talc  because  the 
finest.  Cooling  after 
the  burning  sun  or  the 
hot  summer  winds.  Re 
freshing  for  Monsieur  as 
well  as  Madame. 


Djer-Kiss  Face  Pow- 
der! So  soft!  Sonne! 
So  pure!  So  French! 
Used  with  Djer-Kiss 
Vanishing  Cream  —  the 
last  dainty  touch  to  the 
toilette  complete. 


Photoplay  Magazine— Advertising  Section 


"5X 


Five  New  Writers  Sell 

Photoplays 

or  win  studio  staff  positions  —  Send  for  Free  Test 
which  tells  if  you  have  like  ability 


Jane  Hurrle, 

it  painter,  sold  her 
"Robes  of  Redemp- 
to  Allen  Holubar. 


Waldo  C.  TwiuUI, 

graduate  engineer,  now  as- 
sistant production  manager 
at  Fairbanks  -Pickford 
Studios. 


Euphrasie  Molle, 
a  school  teacher  at  Oakland. 
California,  recently  sold  her 
story,  "The  Violetsof  Yes- 
teryear." to  Hobart  Bob- 
worth . 


John 

Now  in  a  studio  staff  posi- 
tion with  one  of  the  large 
producing  companies. 


Ethel  Styles  Middleton, 
Pittsburgh,  wrote  the  first 
Palmerplay.  She  receives 
Realties  on  the  prohts  of 
the  picture  for  five  yeais, 
having  already  received  an 
advance  payment  vi  $1000. 


H 


See  "Judgment  of  the  Storm" 

At  Your  Local  Theatre 

Ask  the  manager  when  it  will  be  shown.      Wr\ 

ten  directly   for   the   screen,   it   presents   a    visual 

lesson    in    screen    technique.       A    potverful    story 

of  love,  redemption  and  sacrifice. 


ERE  are  five  men  and  women, 
trained  by  this  Corporation,  who 
have,  through  this  training,  recently 
sold  stories  or  accepted  studio  staff  po- 
sitions with  prominent  producing  com- 
panies. 

Picked  at  random  from  many,  they 
prove  that  the  ability  to  write  belongs 
to  no  one  class.  One  is  a  housewife, 
one  a  school  teacher,  another  a  gradu- 
ate engineer,  a  portrait  painter  and  the 
other  has  written  fiction. 

All  have  been  amply  repaid  for  the 
time,  effort  and  money  they  invested  in 
this  work. 

Not  one  of  these  men  and  women 
realized  a  short  time  ago  what  latent 
screen  writing  ability  he  or  she  pos- 
sessed. 

But  each  took  advantage  of  the  op- 
portunity that  you  have  at  this  moment. 
They  tested  and  proved  themselves  by 
the  novel  method  we  have  developed. 

We  offer  you  the  same  test  free — no 
obligation.      Merely  send  the  coupon. 

New  Writers  Needed 

We  make  this  offer  because  we  are  the 
largest  single  clearing  house  for  the  sale  of 
screen  stories  to  the  producing  companies. 
And  we  must  have  stories  to  sell. 

Through   daily  contact  with   the  studios, 
we  know  that  a  serious   dearth   of   suitable 
screen  material  exists. 

Novels,  short  stories  and  stage 
plays,  adaptable  for  the  screen, 
have  been  practically  exhausted. 

Scenario  staffs  are  greatly  over- 
worked. They  cannot  keep  pace 
with  the  present  day  demands. 

New  screen  writers  must  be 
developed  if  we  are  to  supply  the 
producing  companies  with  the 
necessary  photoplays,  for  which 
they  gladly  pay  $500  to  $2000. 

It  is  not  novelists,  short  story 
writers  and  playwrights  that  are 


needed.   Many  of  them  have  tried  this  work; 
few  succeeded. 

The  need  is  for  men  and  women  in  every 
walk  of  life  who  possess  Creative  Imagina- 
tion— story  telling  ability.  Unusual  aptitude 
for  writing  is  not  a  requisite,  for  little  else 
than  titles  appear  on  the  screen  in  words. 

We  Pay  Royalties 

We  are  also  producers,  making  the  better 
type  of  pictures — Palmer/>lays.  It  is  there- 
fore of  vital  importance  to  us  that  we  find 
the  stories  that  make  better  pictures  possible. 

So  we  offer  to  new  writers,  Palmer 
trained,  royalties  for  five  years  with  an  ad- 
vance payment  of  $1000  cash,  on  the  profits 
of  the  pictures  selected  for  Palmer/>lays. 

You  must  admit  the  opportunities.  On 
this  page  are  five  of  the  many  men  and  wo- 
men who  have  succeeded. 

Can  You  Do  It? 

Now  the  question  of  importance  is,  can 
you  succeed  in  this  work  ?  We  will  test  you 
free,  because  we  want  to  train  those  who 
have  the  necessary  ability. 

Simply  send  for  the  Palmer  Creative  Test. 
Spend  an  interesting  evening  with  it.  Mail 
to  us  for  our  personal  examination  and  de- 
tailed report  on  what  your  test  shows.  ( Tests 
returned  by  persons  under  legal  age  will  not 
be  considered.) 

If  you  have  Creative  Imagination,  you 
will  receive  additional  information  relative 
to  the  Palmer  Course  and  Service.  If  you 
do  not  have  it,  you  will  be  told  so  courteously 
and  frankly. 

Mail  the  coupon  now.  You  will  also  re- 
ceive Carrol  B.  Dotson's  interesting  booklet, 
"How  a  $10,000  Imagination  Was  Discov- 
ered." 


Palmer  Photoplay  Corporation, 

Department  of  Education,  Sec.  1208 
Palmer  Building,  Hollywood,  California. 

Please  send  me  by  return  mail  your  Creative  Test  which 
I  am  to  fill  out  and  mail  back  to  you  for  analysis.  It  is 
understood  that  this  coupon  entitles  me  to  an  intimate  per- 
sonal report  on  my  ability  by  your  Examining  Board,  with- 
out the  slightest  obligation  or  cost  on  my  part.  Also  send 
me.  free.  Carrol  B.  Dotson's  booklet,  "How  a  $10,000  Imag- 
ination Was  Discovered." 


Name.... 
Stki i T 
City 


St  Ml 

All  correspondence  strictly  confidential 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


Photoplay  Magazine— Advertising  Section 


Mrs.  Denneny  before 

she     used     the     new 

method.      W  eight, 

240  pounds. 


Mrs.  Denneny  after 
she  used  the  new 
method.  Weight, 
now  168  pounds  and 
she  is  still  reducing. 


Loses  74  pounds- 
Feels  Like  a  New  Woman 

"I  weighed  240  pounds  when  I  sent  for  your  course. 
The  first  week  1  lost  10  pounds.  My  weight  is  now 
166  pounds  and  1  am  still  reducing.  I  never  felt  better 
in  my  life  than  I  do  now.  There  is  no  sign  of  my 
former  indigestion.  And  I  have  a  fine  complexion 
now,  whereas  before  I  was  always  bothered  with  pim- 
ples. Formerly  I  could  not  walk  upstairs  without  feel- 
ing faint.  Now  I  can  RUN  up.  I  reduced  my  bust 
l\i  inches,  my  waist  9  inches  and  my  hips  11  inches. 
I  even  wear  shoes  a  size  smaller.  Formerly  they  were 
sixes,  now  they  are  fives." 

(Signed)  Mrs.  Mary  J.  Denneny, 

82  W.  9th  St.,  Bayonne,  N.  J. 


John  Griswold  before 
using  new  discovery. 
Weight,   266   pounds. 


John  Griswold  after 
using  new  discovery. 
Weight,    162   pounds. 


Loses  104  Pounds 
Reduces  Waistline  17  Inches 

"When  I  sent  for  your  method  I  weighed  266 
pounds.  I  reduced  at  the  rate  of  about  5  pounds  a 
week  until  I  reached  162  pounds.  I  reduced  my 
waistline  17  inches.  Today  I  am  in  good  health  and 
am  now  free  from  all  avoirdupois  ailments.  I  find 
that  all  one  needs  is  your  course  in  order  to  become 
the  person  of  his  dreams." 

(Signed)  John  Griswold,  Anthony,  Kan. 


Mrs.     Geo.      Guiter- 

man     the     day     she 

Started    reducing  the 

new  way. 


Mrs.      Geo.      Guiter- 

man  eight  days  later. 

Note    the    wonderful 

improvement. 


Loses  13  Pounds  in  8  Days 

"Hurrah I  I've  lost  13  pounds  since  last  Monday. 
I  used  to  lie  in  bed  an  hour  or  so  before  1  could  get  to 
sleep.  But  now  I  go  to  sleep  as  soon  as  1  lie  down, 
and  I  can  sleep  from  8  to  9  hours.  I  feel  better  than  1 
have  for  month-. 

(Signed)  Mrs.  Geo.  Guilerman. 

420  E.  66th  St.,  New  York  City. 


delicious   food 
yourself! 


s   which   you   may   now  be  denying 


That  is  all  it  will  cost  you — and  you  don't  even  have  to  pay  that  now! 
You  lose  your  excess  flesh  through  a  wonderful  new  discovery  which 
does  not  require  any  starving,  exercise,  massage,  drugs  or  bitter  self- 
denials  or  discomforts.  Sent  on  10  DAYS'  TRIAL  to  PROVE  that  you 
can  lose  a  pound  a  day. 

TAKING  off  excess  weight  by  this  new 
method  is  the  easiest  and  quickest 
thing  imaginable.  It  is  absolutely 
harmless  and  really  fascinating.  Almost 
like  magic  it  brings  a  slender,  graceful, 
supple  figure  and  the  most  wonderful 
benefits  in  health.  Weakness,  nervous- 
ness, indigestion,  .shortness  of  breath,  as 
well  as  many  long-seated  organic  troubles, 
are  banished.  Eyes  become  brighter, 
steps  more  elastic 


WAS   15" 
NOW  1 2  '/z 


and  skins  smooth, 
clear  and  radiant. 
Many  write  that 
they  are  positively 

astounded  at  losing 
wrinkles  which  they 
had  supposed  to  be 
ineffaceable. 

Reduce  Fast 
or  Slowly 

The  rate  at  which 
you  lose  your  sur- 
plus flesh  is  abso- 
lutely under  your 
own  control.  If  you 
do  not  wish  to  lose 
flesh  as  rapidly  as 
a  pound  a  day  or 
ten  pounds  a  week, 
you  can  regulate 
this  natural  law  so 
that  your  loss  of  flesh 
will  be  more  gradual. 
When  you  have 
reached  your  normal 
weight  you  can  retain 
it  without  gaining  or 
losing  another  pound. 

The  Secret 
Explained 

Scientists  have 
always  realized  that  ' 
there  was  some  nat- 
ural law  on  which  the  whole  system  of  weight 
control  was  based.  But  it  remained  for  Eugene 
Christian,  the  world  famous  food  specialist,  to 
discover  the  one  safe,  certain  and  easily  followed 
method.  He  found  that  certain  foods  when  eaten 
together  take  off  weight  instead  of  adding  to 
it.  Certain  combinations  cause  fat;  others  con- 
sume fat.  For  instance,  if  you  eat  certain  foods 
at  the  same  meal  they  are  converted  into  excess 
fat.  But  eat  these  same  foods  at  different  times 
and  they  will  be  converted  into  blood  and  muscle. 
Then  the  excess  fat  you  already  have  is  used  up. 

This    method    even    permits    you    to   eat    many 


Ten  Days'  Trial — Send  No  Money 

Eugene  Christian  has  incorporated  his  remark- 
able secret  of  weight  into  an  interesting  course 
called  "Weight  Control — the  Basis  of  Health."! 
To  make  it  possible  for  every  one  to  profit  by  his 
discovery,  he  offers  to  send  the  complete  course) 
to  any  one  sending  in  the  coupon. 

Why  the  Coupon  Is  Worth  $1.00 
to  You  Now 


WAS  12  V." 
NOW  II  ' 


Secure  the  perfect  figure  which 
is  the  birthright  of  every  woman 


Those  who  reduce 
rapidly  are  usually  so 
enthusiastic  that  they 
cannot  refrain  from 
mentioning  this 
method  to  their 
friends.  This  will  be 
the  best  kind  of  ad» 
vertisement  for  us. 
So  we  are  willing  to 
lose  money  in  order 
to  secure  a  great 
number  of  users  in 
the  shortest  possible) 
time. 

So  here  is  our  offer. 
Just  mail  the  coupon 
without  sending 
penny.  The  coupon 
will  be  accepted  as 
worth  $1.00  on  tM 
purchase  of  this 
course,  for  which 
others  have  to  '  pay 
$1.97.  Then  when 
the  course  arrives  all 
you  have  to  do  is  ta 
pay  the  postman  only 
97c  plus  the  feu 
cents  postage  and 
the  course  is  yours 
There  will  be  n. 
further  payments  ai 
any  time.  But  if  yoi 
are  not  thoroughlj 
pleased  after  a  1ft 
day  test  of  thi 
"  method,  you  may  re 
turn  the  course  ant 
your  money  will  be  refunded  instantly.  (If  mor 
convenient,  you  may  remit  97  cents  with  th 
coupon,  but  this  is  not  necessary.) 

Our  liberal  guarantee  protects  you.  Eithe 
you  experience  in  10  days  such  a  wonderful  reduc 
tion  in  weight  and  such  a  wonderful  gain  in  dealt 
that  you  wish  to  continue  this  simple,  easy,  de 
lightful  method,  or  else  you  return  the  course  am 
your  money  is  refunded  without  question. 

Don't  delay.  This  special  price  may  soon  b 
withdrawn.  Mail  the  coupon  NOW.  Correctiv 
Eating  Society,  Dept.  W-2088,  47  West  16th  St 
New  York  City. 


This  Coupon  Is  Worth  $1.00  toYov 


(Under  Conditions  Named  Below) 


'    Corrective  Eating  Society 

I  Dept.  W-2088,  47  West  16th  St.,  New  York  City 

I  Without  money  in  advance,  you  may  send  me,  in  plain  wrapper,  Kugene  Christian's  Course  on  "We™ 

Control— the     Basis  of    Health."     You  lire  to  accept    this  coupon  as  worth  S1.00  (ONE    DOLLAR)  on  a 
I    purchase  or  this  course.     Therefore,  when  the  course  arrives  I  will  pay  the  post  man  only  97  cents  (plus  a  few  cen 
postage)  In  full  payment  and  there  are  to  be  no  further  payments  al  any  time.       Although  1  am  benefiting  by  til 
I   special  reduced  price,  I  retain  the  privilege  of  returning  this  course  within  10  days,  baying  my  97  cents  refundi 
1    if  I  am  not  surprised  with  the  wonderful  results.     I  am  to  be  the  sole  Judge. 

I 


(Please  writs  Plainly.) 


|    Street 


I  it., 


.State. 


Every  advertisement  >■;  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


90  IP 

Jl  Writ"0 


The  World's  Leading  Motion  Picture  Publication 


PHOTOPLAY  MAGAZINE 


FREDERICK  JAMES  SMITH 

MANAGING   EDITOR 


JAMES  R.  QUIRK,  Editor 


ADELA  ROGERS  ST.  JOHNS 

WESTERN   EDITOR 


Vol.  XXIV 


Contents 

August,  1923 


No.  3 


Marion  Davies 


Cover  Design 

From  a  Pastel  Portrait  by  J.  Knowles  Hare 

Brickbats  and  Bouquets 
Letters  from  Readers 

Friendly  Advice  Carolyn  Van  Wyck 

The  Department  of  Personal  Service 

Brief  Reviews  of  Current  Pictures 
In  Tabloid  Form  for  Ready  Reference 

Rotogravure : 

New  Pictures:  Evelyn  Brent,  Lew  Cody,  Norma 
Talmadge,  Dorothy  Knapp,  Corinne  Griffith,  Eleanor 
Boardman,  Bessie  Love 

Speaking  of  Pictures  (Editorials)  James  R.  Quirk 

Why  Did  the  Vidors  Separate?       Adela  Rogers  St.  Johns 
That  Is  the  Question  All  Hollywood  Is  Asking 

How  Twelve  Famous  Women  Scenario  Writers  Succeeded 
(Photos) 

They  Have  Proved  That  the  Typewriter  Is  Nearly  as  Mighty  as 
the  Klieglight 

What  Are  the  Chances  of  a  Beginner 

The  Most  Famous  Directors  Here  Tell  You 

The  Lady  of  the  Vase  Adela  Rogers  St.  Johns 

Norma  Talmadge's  Personality  Reflects  the  Vital  Spirit  of  an  Old 
Legend 

(Contents  continued  on  next  page) 


Published  monthly  by  the  Photoplay  Publishing  Co. 

Publishing  Office,  750  N.  Michigan  Ave.,  Chicago,  111. 
Editorial  Offices,  221  W.  57th  St.,  New  York  City 

The  International  News  Company.  Ltd.,  Distributing  Agents,  5  Bream's  Building,  London,  England 

Edwin  M.  Colvin,  Pres.  James  R.  Quirk,  Vice-Pres.  R.  M.  Eastman,  Sec.-Treas. 

Yearly  Subscription  :  $2.50  in  the  United  States,  its  dependencies,  Mexico  and  Cuba  > 
$3.00  Canada;  $3.50  to  foreign  countries.  Remittances  should  be  made  by  check,  or  postal 
or  express  money  order.    Caution — Do  not  subscribe  through  persons  unknown  to  you. 

Entered  as  second-class  matter  April  24,  1912,  at  the  Postoffice  at  Chicago,  111.,  under  the  Act  of  March  3,  1879. 


10 
12 
15 
19 

27 
28 

31 

34 
38 


Photoplays  Reviewed 

in  the  Shadow  Stage 

This  Issue 


Save  this  magazine  —  refer  to 
the  criticisms  before  you  pick  out 
your  evening's  entertainment. 
Make  this  your  reference  list. 

Page  64 

The  Exciters Paramount 

Only  38 Paramount 

The  White  Rose United  Artists 

Page  65 

Penrod  and  Sam First  National 

The  Spoilers Goldwyn 

Main  Street Warner  Brothers 

Page  66 

The  Girl  of  the  Golden  West 

First  National 

The  Man  Next  Door Vitagraph 

The  Mark  of  the  Beast Dixon 

The  Heart  Raider Paramount 

Garrison's  Finish United  Artists 

Children  of  Dust First  National 

Page  67 

The  Shock Universal 

Mary  of  the  Movies F.  B.  O. 

Fog  Bound Paramount 

A  Man  of  Action First  National 

Slander  the  Woman First  National 

Snowdrift Fox 

Page  gi 

The  Ragged  Edge Goldwyn 

The  Snow  Bride Paramount 

Michael  O'Halloran Hodkinson 

Don  Quickshot  of  the  Rio  Grande 

Universal 

Boston  Blackie Fox 

Rice  and  Old  Shoes F.  B.  O. 

Railroaded Universal 

Page  02 


Divorce 

Burning  Words. 


.   F.  B.  O. 

.  Universal 


Copyright,  1925,  by  the  Photoplay  Publishing  Company,  Chicago. 


Contents  —  Continued 

The  Romantic  History  of  the  Motion  Picture 

Terry  Ramsaye 
In  This,  Chapter  XXVII,  We  See  the  First  Glimmers  of  Stardom 

The  Countess  Dombski — Pola  Negri  (Photograph) 


Close-Ups  and  Long  Shots 


Herbert  Howe 


Comment  on  the  Activities  of  Screen  Personalities 

"Celluloid  Boulevard"  (Fiction)  Frank  R.  Adams 

A  Brilliantly  Written  Story  with  an  Unexpected  Twist 

Illustrated  by  Kenneth  F.  Camp 

A  Parisian  Chinese  Lily  Herbert  Howe 

Jetta  Goudal,  Daughter  of  France,  Is  Reminiscent  of  the  Orient 


The  Press  Agent  Who  Is  Paid  $1,000  a  Week 

Glendon  Allvine 
If  You  Have  Anything  Worth  Advertising,  Harry  Reichenbach 
Will  Make  It  Nationally  Famous 

Off  for  a  Roman  Honeymoon!  (Photograph) 

The  Eternal  City  Is  Chosen  by  Mr.  and  Mrs.  Jack  Dougherty 
(Barbara  La  Marr) 

The  Studio  Secret  (Fiction)         Frederic  Arnold  Kummer 

The  Most  Remarkable  Story  of  Hollywood  Life  Ever  Penned 

Illustrated  by  James  Montgomery  Flagg 

The  South  Sea  Siren — Gilda  Grey  (Photograph) 

Rotogravure: 

$5,000  in  Fifty  Cash  Prizes! 

Rules  of  Photoplay  Magazine's  Great  Screen  Contest  with 
Eight  Puzzle  Pictures  Awaiting  Your  Solution 

Rodolph  Valentino  (Photograph) 

The  Shadow  Stage  Frederick  James  Smith 

The  Department  of  Practical  Screen  Criticism 


Gossip — East  and  West 

The  Latest  News  of  the  Film  Folk 

The  Man  Who  Came  Back 


Cal  York 


40 

44 

45 

47 
50 


A  Cockney  Beauty  Jameson  Sewell    51 

Dorothy  Mackaill  Brings  Her  English  Loveliness  to  Our  Movies 


52 
53 

54 

58 
59 


Questions  and  Answers 


The  Answer  Man 


Why  Do  They  Do  It? 

Screen  "Breaks"  Caught  by  Readers  of  Photoplay 


"The  Face  on  the  Cutting  Room  Floor" 

Casts  of  Current  Photoplays 

Complete  for  Every  Picture  Reviewed  in  This  Issue 


63 
68 


Bettina  Bedwell     70 


A  Light  on  the  Real  Nature  of  Adolph  Zukor,  President  of  Famous 
Players-Lasky 

The  Photoplay  Medal  of  Honor 

You  Are  Invited  to  Cast  Your  Ballot  for  What  You  Consider  to 
Be  the  Best  Picture  of  1922 

"Will  Mae  Marsh  Come  Back?"  (Photograph) 

Her  Performance  in   "The   White   Rose"  Seems  to  Answer 
the  Question 


72 

74 

81 
82 


Peter  Milne    96 
108 


(flVa- 


-**& 


Addresses  of  the  leading  motion  picture  studios 
will  be  found  on  page  J  J 


Does 

the 

Camera 
Lie? 

of  course 
it  does 

It  lies  beautifully,  artistic- 
ally and  convincingly. 

It  lies  to  create  and  main- 
tain illusion.  It  lies  because, 
in  very  many  instances,  a  lie 
is  infinitely  better  than  the 
truth. 

If  the  camera  never  lied 
you  would  not  have  half  the 
enjoyment  in  pictures  that 
you  do  have.  You  would  not 
see  on  the  screen  the  marvel- 
ous castles,  the  miles  of 
forest,  the  thrilling  train  dis- 
asters and  shipwrecks  that 
lift  you  out  of  your  seats  in 
so  many  big  pictures. 

How 

does  it  lie? 

That  is  what  Photoplay 
will  tell  you  in  the  September 
number.  It  will  explain  the 
latest  and  greatest  secret  of 
the  motion  picture  trade. 
It  will  place  before  you,  very 
simply  and  with  self-explan- 
atory illustrations,  the  truth 
about  "glass  work,"  double 
exposures,  double  printing 
and  miniature  sets. 

This  is  not  an  expose.  It 
is  an  explanation.  It  not 
only  will  not  lessen  your  en- 
joyment of  the  pictures,  but 
it  will  increase  your  wonder 
at  the  marvelous  strides  that 
the  industry  is  making  in  art 
and  efficiency. 

Don't  miss 

Photoplay 

for  September 
Out  August  15th      I 


Photoplay  Magazine— Advertising  Section 


We  all  enjoy  play,  and 
play  brings  thirst. 


&W  thirst-wherever 
you  are,  quench  it  with 
this  Leverage  *»  not 
from  one  vine  or  one 
tree,  but  a  blend  of 
pure  products  from 
nature's  storehouse 
with  a  flavor  all  its 
own 

Drink 


cca\ 


Delicious  and  Refreshing 


The  Coca-Cola  Company 

Atlanta,  Ga. 


Served  ice-cold  at  fountains 
or  in  bottles. 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  M  \<;  1ZINE 


Photoplay  Magazine — Advertising  Section 


3  months  of  great 


FOR  many  months  Paramount's 
famous  stars,  directors,  players, 
dramatists,  photographers  and 
screen  technicians  have  been  work- 
ing to  give  you  a  giant  program  of 
thrilling  photoplays  for  the  season 
of  1923-24. 

Any  expenditure,  any  effort,  is  of 
little  importance  to  Paramount 
compared  with  America's  "Well 
Done!" 

Fourteen  pictures  of  that  pro- 
gram are  listed  here — 14  pictures 
full  for  you  of  the  most  vivid  life, 
healthy  excitement  and  glorious 
adventure,  all  agleam  on  the  screen 
by  the  consummate  art  of  Para- 
mount. 

Plan  ahead  with  Paramount 
again  this  season  and  you'll  be  sure 
of  seeing  the  best. 

"1/  it's  a  Paramount  Picture 
it's  the  best  show  in  town'* 


TRADE   „•*  *  *  »  w    MARK 


U 


Cpawmount 


Kvery  advertisement  in  PHOTOPT-AY  MAOAZTNE  is  guaranteed 


Photoplay  Magazine — Advertising  Section 


Save  the  list 

&  ask  Jem  the  dates 


The  cream,  of  America's  screen  entertainment  is  presented 
in  14  special  Paramount  Pictures  for  the  patrons  of  the  finest 

theatres  everywhere 


A  James  Cruze  Production 
'THE  COVERED  WAGON" 

Adapted  by  Jack  Cunningham. 
Novel     by     Emerson     Hough. 


mSa 


Kenma  Corporation  Presents 

"THE  PURPLE  HIGHWAY" 
With  Madge  Kennedy 

Monte  Blue,  Pedro  deCordoba,  Vincent  Coleman,  Dore 

Davidson.      Adapted    by    Rufus   Steele   from    the   play 

"Dear    Me."      By    Luther    Reed    and    Hale   Hamilton. 

Directed  by  Henry  Kolker. 


The  Cosmopolitan  Corporation  Presents 

"THE  LOVE  PIKER" 
with  ANITA  STEWART 

and  an  all-star  cast  including  Wm.  Norris,  Robt.  Frazei, 

Frederick  Truesdell  and   Arthur  Hoyt.     By  Frank  R. 

Adams.     Directed  by  E.  Mason  Hopper.     Scenario  by 

Frances  Marion. 


A  William  deMille  Production 

"SPRING  MAGIC" 
with  Agnes  Ayres  and  Jack  Holt 

supported    by    Charles    deRoche,    Bobby    Agnew 


Mary  Astor. 
play 


and 
Screen  play  by  Clara  Beranger,  from  the 
The  Faun"  by  Edward  Knoblock. 


A  James  Cruze  Production 
"HOLLYWOOD" 

By  Frank  Condon.    Adapted  by  Tom  Geraghty.  Twenty 
real  stars,  forty  screen  celebrities. 


A  Zane  Grey  Production 

"TO  THE  LAST  MAN" 

With    Richard    Dix    and    Lois   Wilson.      Supported    by 
Frank  Campeau  and  Noah  Beery.     Directed  by  Victor 
Fleming.    Adapted  by  Doris  Schroeder. 


An  Allan  Dwan  Production 
"LAWFUL  LARCENY" 

With  Hope  Hampton,  Nita  Naldi,  Conrad  Nagel  and 

Lew  Cody.  From  the  play  by  Samuel  Shipman.  Adapted 

by  John  Lynch. 


A  Charles  Maigne  Production 

"THE  SILENT  PARTNER" 
with  Leatrice  Joy 

Owen  Moore  and  Robert  Edeson.     From  the  story  by 
Maximilian  Foster.    Screen  play  by  Sada  Cowan. 


A  George  Fitzmaurice  Production 
POLA  NEGRI  in  "The  Cheat" 

With    Jack    Holt.        Supported    by    Charles    deRoche. 

Adapted  by  Ouida  Bergere — from  the  story  by  Hector 

Turnbull. 


GLORIA  SWANSON  in 

A  Sam  Wood  Production 
"Bluebeard's  Eighth  Wife" 

Screen  version  by  Sada  Cowan.  From  Charlton  Andrews* 
adaptation  of  Alfred  Savoir's  play. 


A  George  Melford  Production 
"SALOMY  JANE" 

With  Jacqueline  Logan,  George  Fawcett,  Maurice  Flynn. 

Book  by  Bret  Harte.   Play  by  Paul  Armstrong.  Adapted 

by  Waldemar  Young. 


A  James- Cruze  Production 
of  Harry  Leon  Wilson's  novel 

"RUGGLES  OF  RED  GAP" 

With  a  special  cast.      Adapted  by  Tom  Geraghty. 


An  Allan  Dwan  Production 
GLORIA  SWANSON  in  "Zaza" 

Play  by  Pierre  Berton.    Screen  play  by  A.  S.  LcVino. 


THOMAS  MEIGHAN  in 
"All  Must  Marry" 

by  George  Ade.    Directed  by  Alfred  E.  Green, 
by  Tom  Geraghty. 


Adapted 


When  you  write  to  advertisers  please  mention  TIIOTOPLAY  MAGAZINE. 


Re  "In  Search  of  Her  Soul** 

P.  0.  Box  523,  Kansas  City,  Mo. 
Editor  Photoplay  Magazine. 

Dear  Sir:  In  that  article  entitled  "A  Star  in 
Search  of  Her  Soul."  which  was  published  in 
the  June  issue  of  Photoplay.  Mr.  Herbert 
Howe  writes  of  Pearl  White's  decision  to  enter 
a  convent.  Among  other  interesting  things  he 
tells  of  the  star's  childhood  in  Greenridge, 
Missouri;  he  quotes  her  concerning  "the 
hideous  house  'that  was  going  to  rack  and 
ruin.'  "  telling  incidentally  of  how  she  saved 
up  pennies — which  were  hoarded  under  a  jug 
in  the  corner  of  the  cellar — in  order  to  buy  a 
doll  that  she  had  seen  in  a  drugstore  window. 

I  doubt  whether  any  other  reader  of  Photo- 
play will  be  able  to  grasp  that  particular  part 
of  the  narrative  in  the  exact  way  that  I  do. 
For  I,  as  a  youthful  tramp — just  then  weak 
from  sickness  and  lack  of  food — slept  in  that 
same  cellar  of  the  "hideous  house"  where 
Pearl  White  shortly  afterward  hid  her  pennies 
under  the  jug.  And  I  knew  well  the  store- 
keeper, Mr.  Redmond  (his  name  is  Fordyce, 
rather  than  "Fortis"),  who,  seeing  the  light 
die  out  of  Pearl's  eyes  upon  finding  that  she 
did  not  have  enough  pennies  to  pay  for  it,  gave 
her  the  beautiful  large  doll — thus  begetting  in 
her  a  feeling  of  undying  gratitude. 

Perhaps  it  is  conducive  to  a  clearer  under- 
standing of  the  feelings  on  my  part  if  I  say 
that  I  am  the  author  of  the  fact-story  serial, 
"Up  From  the  Death  Cell,"  now  running  in 
various  newspapers  throughout  the  United 
States  and  Canada.  But  it  is  not  solely 
because  I  have  gone  through  all  imaginable 
hells  of  adversity  with  their  sweat,  blood  and 
tears  that  I  harbor  a. special  sympathy  for 
Pearl  White  and  accept  as  genuine  her  declara- 
tion that  she  is  now  going  to  look  after  the 
welfare  of  her  soul;  it  is  because  she,  like  unto 
Faust,  is  far  from  being  an  ordinary  individual. 

When  I  think  of  the  sordidness  and  actual 
filth  of  the  earlier  surroundings  of  Pearl  White, 
I  stand  in  amazement  at  the  heights  of  success 
she  has  attained.  Her  own  life  drama  is  in 
some  measure  as  unusual  and  great  as  that  one 
greatest  written  by  the  master  pen  of  Goethe. 
She,  the  same  as  Faust,  represents  the  human 
race.  Like  unto  millions  of  others  she  has 
struggled  and  attained,  and  she  has  known  the 
stream  of  earthly  pleasure  and  what  it  is  to  be 
drowned  therein.  And  now  after  all  the  striv- 
ing and  successes — after  a  resurrection  from 
the  death  incident  to  being  hurled  into  that 
stream  that  flows  so  near  to  worldly  hope  and 
attainment — she  realizes  that  the  greater  Good 
is  yet  to  be  found. 

Truly,  the  declaration  of  Pearl  White  that 
she  has  heretofore  neglected  her  soul  but  will 
now  begin  to  care  for  it  is  a  grand  confession, 
equal  to  that  of  the  author  of  "Faust." 
Skeptics  may  smile  and  look  wise.  Material- 
ist- and  those  who  have  not  been  through  the 
purging  fire  may  dismiss  her  announcement  as 
a  publicity  play.  But  irrespective  of  what 
cause  or  various  contributing  causes  that  led 
up  to  her  decision,  I  for  one  hear  that  an- 
nouncement as  the  cry  of  a  lonely  soul  seeking 
the  way  of  a  nobler  path.  And  whether  her 
stay  in  the  convent  may  be  of  long  or  short 
duration,  I  sincerely  hope  that  Pearl  White 
may  find  that  peace  and  joy  "more  precious 
than  the  rubies  of  the  kings." 

John  W.  Kane. 

Business  of  Bowing 

Corry,  Pa. 
Editor  Photoplay  Magazine. 

Dear  Sir:  With  each  succeeding  issue 
Photoplay  shows  improvement.  Last  evening 
I  was  reading  the  October  1019  issue.  Then 
we  wrote  to  the  Answer  Man  for  the  cast  of  a 
favorite  picture.  Now  we  have  the  selection 
of  the  six  best  photoplays  monthly  and  the 
cast  of  every  picture  reviewed  appears  also. 

10 


Brickbats 
Bouquets 

LETTERS 
FROM  READERS 


The  readers  of  Photoplay  are 
invited  to  write  this  department 
— to  register  complaints  or  com- 
pliments— to  tell  just  what  they 
think  of  pictures  and  players. 
We  suggest  that  you  express  your 
ideas  as  briefly  as  possible  and 
refrain  from  severe  personal  crit- 
icism, remembering  that  the 
object  of  these  columns  is  to  ex- 
change thoughts  that  may  bring 
about  belter  pictures  and  better 
acting.  Be  constructive.  We  may 
not  agree  with  the  sentiments  ex- 
pressed, but  we'll  publish  them 
just  the  same!  Letters  should  not 
exceed  200  words  and  should  bear 
thewriter's full  name  and address. 


And  it  is  with  a  great  deal  of  pleasure  that  we 
look  forward  to  the  Annual  Medal  of  Honor 
Contest.  I  like  the  editorials  too,  because 
they  hit  the  mark. 

F.  H.  Patrick. 

Concerning  Faulty  Features 

Boston,  Mass. 
Editor  Photoplay  Magazine. 

Dear  Sir:  I  have  just  seen  "Adam's  Rib" 
and  was,  with  hundreds  of  others,  greatly  dis- 
appointed. The  story  was  unreal — what 
mother  would  ever  let  her  daughter  know  that 
she  intended  sacrificing  her  husband  for  the 
sake  of  romance?  And  the  much  talked  of 
"cave-man"  scene  was  just  sensuous. 

Rex  Ingram  is  certainly  capable  of  doing 
greater  things  than  "Where  the  Pavement 
Ends." 

It  didn't  "get"  you  at  all. 

For  me,  "Brass"  was  spoiled  by  a  hazy,  un- 
certain ending. 

How  much  better  are  pictures  like  "Robin 
Hood,"  "The  Flirt,"  "Clarence,"  "Java Head," 
"The  Pilgrim,"  "The  Ghost  Patrol,"  "Back 
Home  and  Broke,"  "Kick  In"  and  "Down  to 
the  Sea  in  Ships." 

Harriet  Knowlton. 

Inside  Lighting  Effects 

Chicago,  HI 
Editor  Photoplay  Magazine. 

Dear  Sir:  In  the  February  "Why  Do  They 
Do  It"  column,  J.  B.  H.  of  Reno,  Nevada, 
complains  about  the  lack  of  outside  wiring  in 
"Wild  Honey"  while  the  house  was  lighted  by 
electricity.  I  did  not  see  the  picture  he  refers 
to,  but  would  like  to  advise  him  that  I  own  a 
country    estate    remotely    situated    here    in 


Illinois,  and  that  it  is  electrified  without  out- 
side wiring  of  any  sort,  above  or  under  the 
ground,  and  needing  no  outside  wiring  as  the 
electricity  is  supplied  by  a  small  plant  situated 
in  the  basement.  If  J.  H.  B.  will  look  into  it 
he  will  find  thousands  of  these  plants  in  the 
United  States  and  will  not  need  to  worry  about 
"mistakes"  made  by  the  director  of  "Wild 
Honey." 

I  wish  to  thank  you  for  your  history  of  the 
motion  picture  industry,  and  would  be  further 
indebted  to  you,  were  you  to  convince  Florence 
Turner,  Florence  Lawrence,  Mary  Fuller,  and 
more  of  the  old  stars  and  pioneers  to  come 
back.  Don't  you  think  they  could  succeed 
now,  when  they  did  so  well  in  the  old  days? 

It  was  rather  a  shock  to  find  no  mention  of 
Wallace  Reid's  death  in  the  February  Maga- 
zine until  I  realized  that  the  magazine  was 
printed  too  early  to  cover  that  subject,  but  I 
am  looking  forward  to  some  memoriam  in  the 
March  issue.  Wally  probably  made  mistakes, 
but  he  occupied  a  unique  place  and  can  never 
be  replaced,  and  I  am  glad  to  note  that  the 
general  public  is  feeling  its  great  loss  and  not 
condemning 

A.  H.  Wadtjington. 

Some  Thumb-Nail   Impressions 

Milwaukee,  Wis. 
Editor  Photoplay  Magazine. 

Dear  Sir:  May  a  college  girl  venture  a  few 
opinions?  First  of  all,  Bebe  Daniels.  She  is 
beautiful,  and  to  my  mind,  one  of  the  screen's 
most  capable  players.  She  is  a  wonderful 
clothes  model  and  enacts  her  society  characters 
perfectly.  Some  say  Miss  Daniels  appeals 
only  to  the  young,  but  my  mother  and  her 
friends,  who  are  far  from  young,  think  Bebe 
is  "just  right."  So  that's  that.  The  follow- 
ing are  some  of  my  thumb-nail  impressions  of 
stars : 

Rodolph  Valentino — A  sincere,  capable 
actor,  who  is  handicapped  by  excessive  good 
looks  and  a  distinctly  foreign  air. 

Lila  Lee — A  beauty  who  hasn't  the  slightest 
idea  of  what  it  is  to  act. 

Thomas  Meighan — Runs  neck  and  neck 
with  Jackie  Coogan  for  title  of  "the  best  actor 
on  the  screen  today." 

Norma  Talmadge — She  has  ability  as  well 
as  beauty,  dignity  as  well  as  charm,  and  a 
personal  magnetism. 

May  McAvoy — Day  by  day,  in  every  way 
she  is  getting  better  and  better. 

Conrad  Nagel — Knows  he  can  act  without 
being  conceited. 

Leatrice  Joy — A  second  Norma  Talmadge. 

Malcolm  McGregor — Continued  exertion 
leads  to  success. 

Marion  Davies — A  flash  in  the  pan. 

Pauline  Garon — Practice  makes  perfect. 
Betty  Reid. 

The  Talents  They  Possess 

Chicago,  Illinois. 
Editor  Photoplay  Magazine. 

Dear  Sir:  Why  are  the  fans  so  quick  to 
throw  brickbats  at  stars  simply  because  they 
do  not  suit  them  in  one  way  or  the  other? 
We  should  admire  Mae  Murray  because  she  is 
a  wonderful  dancer  and  not  scorn  her  because 
she  is  not  a  wonderful  actress. 

Let  us  respect  Agnes  Ayres  because  she  is 
beautiful  and  wears  gorgeous  clothes  and  not 
say  she  is  worthless  because  she  is  not  as  per- 
fect as  Norma  Talmadge.  Norma  is  not  per- 
fect. Pola  Negri  is  a  far  superior  actress  than 
she. 

Mae  Murray  is  a  dancer  and  Norma  is  not. 
Agnes  Ayres  has  a  sweet  expression  and  is  a 
fair  actress.  So  let's  applaud  the  stars  for 
what  they  can  do  and  not  scorn  them  for  what 
they  cannot. 

Allan  Q.  Smith.  , 


Photoplay  Magazine — Advertising  Section 


i  i 


Studio  Directory 

For  the  convenience  of  our  readers 
who  may  desire  the  addresses  of  film 
companies  we  give  the  principal  active 
ones  below.  The  first  is  the  business 
office;  (s)  indicates  a  studio;  in  some 
cases  both  are  at  one  address. 

ASSOCIATED    FIRST   NATIONAL   PICTURES. 
6  West  48th  Street.  New  York  City. 

Richard  Barthelmess  Productions.  Inspiration 
Pictures,   565   Fifth   Avenue,   New    York 
City. 
JCdwin  Carewe  Productions,  Associated  First 
Nat'l  Pictures,  619  Pacific  Finance  Bldg., 
Los  Angeles,  Calif. 
A'len    Holubar    Productions,    Union    League 
Bldg.,  Third  and  Hill  Streets.  Los  Angeles. 
Calif. 
Thomas  H.  Ince  Productions,   Ince  Studios, 

Culver  City,  Calif. 
John  M.  Stahl   Productions.   Mayer  Studio, 

3800  Mission  Road,  Los  Angeles.  Calif. 
Norma  and  Constance  Talinadge  Productions, 

United  Studios.  Hollywood.  Calif. 
Maurice  Tourneur  Productions,  United 

Studios,  Hollywood,  Calif. 
Laurence  Trimble-Jane  Murfln  Productions. 
Associated   First   Nat'l   Pictures,   6    West 
48th  Street.  New  York  City. 
Louis  Mayer  Productions,  3800  Mission  Road. 

Los  Angeles,  Calif. 
Richard   Walton   Tully  Productions,   United 
Studios,  Hollywood,  Calif. 
EDUCATIONAL    FILMS    CORPORATION,    370 
Seventh  Avenue,  New  York  City. 

Christie  Comedies,   Christie  Film  Co.,   Inc., 
Sunset  at  Gower  St.,  Los  Angeles,  Calif. 
Hamilton  Comedies,  Lloyd  Hamilton  Corp., 
5341  Melrose  Avenue,  Hollywood,  Calif. 
Mermaid  Comedies,  Jack  White  Corp.,  5341 
Melrose  Avenue,  Hollywood,  Calif. 
FAMOUS     PLAYERS-LASKY     CORPORATION 
(PARAMOUNT),  485  Fifth  Avenue,  New  York 
City. 

(s)  Paramount.    Pierce   Ave.   and   Sixth   St., 

Long  Island  City,  N.  Y. 
(s)  Lasky.  Hollywood,  Calif. 
British  Paramount,  (s)   Poole  St..   Islington, 

N.  London,  England. 
Wm.    S.    Hart    Productions,    (s)    1215   Bates 
Street,  Hollywood,  Calif. 
FOX  FILM  CORPORATION,   (s)   10th  Ave.  and 
55th  St.,  New  York  City,    (s)     1401  N.  Western 
Ave.,  Los  Angeles,  Calif,    (s)   Rome,  Italy. 
GOLDWYN    PICTURES    CORPORATION,    469 
Fifth  Avenue,  New  York  City:  (s)  Culver  City, 
Calif.       Marshall     Neilan,   King  Vidor  Produc- 
tions and  Hugo  Ballin  Productions. 

International  Films.  Inc.  (Cosmopolitan  Pro- 
ductions), 729  Seventh  Avenue,  New  York 
City;   (s)   Second  Avenue  and   127th  St.. 
New  York  City. 
W.  W.  HODKINSON  CORPORATION,  469  Fifth 
Avenue,  New  York  City. 

MASTODON  FILMS,  INC..  C.  C.  Burr,  135  West 
44th  Street,  New  York  City;  (s)  Glendale,  Long 
Island. 
METRO  PICTURES  CORPORATION,  1540 
Broadway,  New  York  City;  (s)  Romalne  and 
Cahuenga  Avenue,  Hollywood,  Calif. 

Tiffany   Productions,    1540   Broadway,   New 

York  City. 
Buster  Keaton  Productions.  Keaton  Studio, 

1205  Lillian  Way,  Hollywood,  Calif. 
Jackie  Coogan,   United  Studios,  Hollywood, 
'      Calif. 
PALMER  PHOTOPLAY  CORPORATION,  Palmer 
Bldg.,    Hollywood,    Calif.,    Producing   at  Thos 
H.  Ince  Studios,  Culver  City,  Calif. 
PATHE  EXCHANGE,  Pathe  Bldg.,  35  West  45th 
Street,  New  York  City;  (Associated  Exhibitors). 
Hal    E.    Roach   Studios,    Inc.,    Culver   City 

Calif. 
Ruth  Roland  Serials,  United  Studio,  Holly- 
wood, Calif. 
PREFERRED  PICTURES    1650  Broadway    New 
York    City;    (s)    Mayer-Schulberg    Studio,    3800 
Mission  Road,  Los  Angeles.  Calif.    Tom  Forman 
Victor  Schertzinger  and   Louis  J.   Gasnier  Pro- 
ductions. 
PRINCIPAL  PICTURES  CORPORATION    1540 
Broadway.    New    York    City:    (s)    7200    Santa 
Monica  Blvd.,  Los  Angeles,  Calif. 
R-C    PICTURES    CORPORATION,    723    Seventh 
Avenue,  New  York  City;  (s)  Corner  Gower  and 
Melrose  Streets,  Hollywood,  Calif. 
ROTHACKER    FILM    MFG.    COMPANY,    1339 
Diversey  Parkway,  Chicago,  Illinois:  Roihacker- 
Aller  Laboratories,  Inc.,  Hollywood,  Calif. 
UNITED  ARTISTS  CORPORATION,  729  Seventh 
Avenue,  New  York  City. 

George  Arliss  Productions,  Distinctive  Prod 

366  Madison  Avenue,  New  York  City 
Rex  Beach  Productions,  United  Artists  Corp 

729  Seventh  Avenue,  New  York  City 
Charlie  Chaplin  Studios,  1416  LaBrea  Ave 

Hollywood,  Calif. 
D.     W.     Griffith     Studios,     Orienta     Point 

Mamaroneck,  N.  Y. 
Jack  Pickford,  Mary  Pickford  Studio,  Holly- 
wood. Calif. 
Mary     Pickford     and     Douglas     Fairbanks 

Studio.  Hollywood,  Calif 
Charles    Ray     Productions.     1428    Fleming 

Street,  Los  Angeles,  Calif. 
Mack     Sennet     Comedy     Productions,     Los 
Angeles,  Calif. 
UNIVERSAL     FILM     MFG.     COMPANY      1600 
Broadway,  New  York  City;  (s)  Universal  City 
Calif. 

Century  Comedies,  Circle  Blvd.,  Hollywood 

Calif. 

VITAGRAPH    COMPANY    OF    AMERICA      (s) 

East  15th  Street,  and  Locust  Avenue,  Brooklyn 

New  York;  (s)  1708  Talmadge  Street,  Hollywood] 

Whitman    Bennett    Productions,  537   Rlvcr- 
dale  Ave.,  Yonkers,  New  York. 
WARNER  BROTHERS,  1600  Broadway,  New  York 
City;  (s)  Sunset  Blvd.  at  Bronson,  Los  Angeles, 


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FRIENDLY 
ADVICE 


From 
Carolyn  ^Van  Wyck 


EVERY  woman  wants  to  be  attractive.  She 
wants  to  be  admired — to  be  popular.  Each 
day  I  receive  letters  from  young  girls,  from 
debutantes,  from  business  women  and  from 
wives  and  mothers.  All  asking  me  to  give 
them  the  secret  of  charm.  All  asking  me  how 
they  may  attain  those  two  desirable,  but 
elusive,  qualities — personality  and  beauty. 

It  is  the  privilege  of  every  woman  to  be 
charming.  To  taste  of  the  sweets  of  life. 
That  is  my  answer  to  each  query!  A  woman 
should  make  the  most  of  herself.  She  should 
carefully  consider  her  best  features — and  her 
worst  ones!  She  should  build  a  barrier  of 
attraction  between  herself  and  plainness. 

Clothes — both  in  shade  and  style — must  be 
considered  carefully.  Hair  dressing.  Cos- 
metics. A  woman  should  study  her  type,  and 
dress  accordingly,  if  she  would  have  charm. 
If  she  is  slim  and  demure  her  clothes  and,  yes, 
her  make-up,  should  match  her  natural  gifts. 
If  she  is  vivid,  dark,  alluring — then  her  gowns 
and  her  coloring  and  her  touches  of  jewelry 
should  be  exotic  and  bizarre. 

Charm,  however,  does  not  entirely  depend 
upon  external  things.  Good  manners,  poise, 
tact  and  intelligence  play  their  part  in  the 
scheme  of  things.  Sweetness  of  nature  and 
unselfishness  make  themselves  felt. 

To  have  charm  a  girl  or  woman  must  first 
of  all  be  a  gentlewoman.  (This  is  a  matter 
of  training  and  cleverness  and  good  taste, 
rather  than  that  of  social  background.)  And 
then  she  should  work  out  her  personal  problem 
in  regard  to  good  looks,  just  as  a  school  child 
does  an  example  in  arithmetic,  and  as  a  busi- 
ness man  figures  over  a  prospective  deal. 

Every  sensible  woman — and  all  women  who 
want  to  be  pretty  and  attractive  are  sensible — 
realize  that  charm  is  the  thing  that  goes  to 
make  popularity.  They  should,  knowing  this, 
judge  of  their  requirements  or,  if  they  are 
unable  to  judge,  they  should  ask  questions  of 
someone  whose  advice  they  can  trust. 

H.  M.  O.,  Irvington,  N.  Y. 

Do  not  be  self-conscious  about  your  height. 
The  day  of  the  flapper  is  passing — with  longer 
skirts  and  hair  in  vogue,  taller  women  will  be 
the  fashion.  And,  anyway,  five  feet  seven 
inches  is  not  too  tall! 

Do  not,  because  of  your  height,  allow  your 
carriage  to  become  slouchy.  Walk  well,  with 
chest  out  and  head  proudly  erect.  Wear,  for 
every  day,  two  piece  dresses  that  follow  the 
Bramley  pattern,  and  loose  swinging  capes  and 


coats.  For  afternoon  and  party  frocks  you 
may  adopt  the  very  full  skirt,  the  panniers, 
and  the  slightly  wired  hoops.  Do  not  wear 
draped  or  one-piece  gowns — they  will  make 
you  seem  taller.  Your  dresses  should  have  a 
definite  waist  line. 

Helen  S.,  Norwalk,  Conn. 

A  good  astringent  would  help  to  model  your 
cheeks  and  also  occasionally  an  alcohol  mas- 
sage. There  are  certain  flesh  reducing  creams 
which  might  do  you  some  good,  too.  If  you 
will  send  me  a  stamped,  addressed  envelope, 
I  will  give  you  some  information  regarding 
freckle  creams  that  are  safe  and  sane  to  use. 

Nell,  East  Greenwood,  R.  I. 

A  bad  complexion  does  not  always  come 
from  the  outside — are  you  sure  that  your  diges- 
tive apparatus  is  in  order,  and  that  your  system 
is  unclogged  and  healthy?  If  you  are  certain 
that  your  physical  condition  is  all  that  it 
should  be,  there  are  many  ways  that  you  can 
improve  your  complexion — from  the  outside. 
The  Woodbury  treatment  is  a  fine  one,  and 
many  of  the  complexion  clays  bring  about 
really  splendid  results.  So  do  the  skin  foods 
and  facial  creams  that  are  on  the  market.  And, 
last  but  not  least,  a  good  stimulating  facial 
massage  is  always  beneficial  to  clogged  pores. 

Janet  M.  K.,  New  York  City. 

You  say  that  Nestle 's  Lanoil  wave  has  been 
recommended  to  you,  and  ask  me  what  I  think 
of  it.  I  am  glad  to  answer  that  I  have  found 
it  perfectly  satisfactory.  A  permanent  wave, 
when  done  skilfully,  is  a  joy — especially  in  the 
warm  summer  months  when  even  the  prettiest 
straight  hair  is  apt  to  have  a  hopeless  appear- 
ance. Contrary  to  many  reports  a  good 
permanent  wave  does  not  do  any  harm.  But 
one  unskilfully  given  can  damage  the  hair 
very  much  indeed. 

M.  E.  T.,  Chicago,  III. 

If  you  think  that  the  man  you  are  engaged 
to  cares  more  for  another  girl  than  he  does  for 
you,  I  think  that  you  are  unwise  to  want  to 
hold  him  to  his  promise.  A  promise  unwilling- 
ly kept  ceases  to  mean  anything.  Marrying  a 
man  who  does  not  want  to  be  your  husband 
will  be  torture  for  him  and,  incidentally,  for  you . 
Make  sure  of  the  situation  before  you  stumble 
blindly  ahead — and,  if  you  are  not  in  complete 
possession  of  your  fiance's  love,  break  the  en- 
gagement before  it  is  too  late. 


Let  Carolyn  Van  Wyck  be  your  confidante 
She  will  also  be  your  friend 

S~*AROLYN  VAN  WYCK  is  a  society  matron,  well  known  in  New  York's  smartest 
(_,  and  most  exclusive  inner  circle.  She  is  still  young  enough  fully  to  appreciate  the 
problems  of  the  girl — she  is  experienced  enough  to  give  sound  advice  to  those  in  nesd  of 
it;  be  they  flappers,  business  women,  or  wives  and  mothers.  She  invites  your  confidences 
— she  will  respect  them — on  any  subject.  Clothes,  charm  and  beauty,  love,  marriage, 
the  dreams  and  hopes  that  come  to  every  one,  the  heartbreaks  and  the  victories — who  has 
not  wished  to  talk  them  over  with  some  woman  who  would  be  tolerant  and  just,  sympa- 
thetic and  filled  with  human  understanding?     Here  is  the  opportunity  to  do  so. 

—  The  Editor 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


Dorothy  A.,  Mobile,  Ala. 

It  is  certainly  too  bad  that  your  profile  is  not 
pretty — especially  when  your  full  face  is  so 
charming.  Are  you  quite  sure  that  you  aren't 
overestimating  the  trouble.  Turnup  noses  are 
often  piquant  rather  than  objectionable,  and 
the  shape  of  your  mouth  can  be  altered  slightly 
by  the  careful  use  of  a  lip  stick.  Do  not  use 
too-white  powder  on  your  nose— it  will  accen- 
tuate the  outline.  And  wear  hats  with  irreg- 
ular brims,  they  will  help,  greatly.  In  fact  a 
style  of  hair  dressing,  and  careful  attention  to 
hats  and  make-up  often  seem  to  change  fea- 
tures. 

L.  S.  R.,  Utica,  N.  Y. 

■\Yhen  a  young  man  loses  interest  in  a  girl 
there  is  little  that  she  can  do.  Going  more  than 
half  way  is  usually  useless,  as  well  as  humili- 
ating. Broken  appointments,  promises  that 
are  never  kept,  evasive  excuses — they  are  all 
danger  signals!  It  is  better  to  keep  a  fragment 
of  your  dignity,  and  to  pretend  at  least  that 
you  are  not  being  hurt,  than  to  do  the  pursu- 
ing! Always  remember — for  it  is  truth  that 
many  women  have  had  to  accept — that  there 
is  nothing  colder  than  the  burned  out  ash  of  a 
dead  love! 

Margaret  H.,  Philadelphia,  Pa. 

A  girl  with  light  brown  hair,  blue-gray  eyes 
and  fair  skin  with  a  hint  of  yellow  in  it,  must 
be  very  particular  in  the  choice  of  color.  She 
should  wear  blues  and  greens  and  violet  tints, 
but  she  should  avoid  browns,  yellows,  and 
shades  of  red.  Black  is  always  good,  and  pale 
grey — never  taupe!  She  should  not  wear 
"odd"  colors,  such  as  olive  drab,  sulphur,  tan- 
gerine, or  cerise. 

A  girl  with  dark  brown  hair,  brown-grey 
eyes  and  a  dark  skin  is  a  simpler  type  to  choose 
shadings  for.  The  warm  colors,  always. 
Brown,  red,  tangerine,  flame,  yellow,  old  gold, 
bronze  and  orange  will  be  her  best  choice.  But 
she  can  also  wear  blues,  and  pinks,  and  some 
greens. 

B.  S.,  Brooklyn,  N.  Y 

Five  feet,  six  inches,  is  not  a  great  height. 
Not  more  than  an  inch  above  the  average,  I 
should  say.  And  tall  girls  are  the  vogue,  this 
year.  You  are  underweight,  though — you 
could  do  nicely  with  an  added  ten  pounds. 
Don't  bob  your  hair  this  year — especially  since 
your  mother  objects  to  bobbed  hair.  Long 
hair  is  becoming  smarter  every  day,  and  girls 
are  wishing  for  their  discarded  tresses. 

You  will  look  well  in  a  cape,  and  in  the  loose 
type  of  coat  that  is  worn  for  sports.  Light 
colors  will  be  especially  becoming  to  you,  for 
they  will  make  you  seem  less  slender — and,  for 
that  reason,  less  tall.  And  so  I  am  sure  that 
the  camel's  hair  suit  will  be  quite  charming 
A  tight  hip  line  is  always  good,  I  think. 

M.  S.  W.,  Independence,  Iowa 

I  should  not  like  to  advise  the  use  of  a  curl- 
ing iron — electric  or  otherwise.  For  a  curling 
iron,  unless  it  is  in  super-skillful  hands,  is  likely 
to  do  more  damage  than  good.  Even  splendid 
hair-dressers  are  apt  to  burn  hair,  without  in 
the  least  meaning  to.  I  feel  sure  that  the  un- 
heated  appliance  is  by  far  the  best,  and  cer- 
tainly the  safest.  The  hair  is  often  more 
healthy  when  left  straight — if  it  is  naturally 
straight.  But  I  know  how  hard  is  it  to  see 
others  with  curly  locks,  and  not  have  them. 
Then,  too,  the  hat  problem  is  more  easily 
solved  if  one  wears  waved  hair. 

"Vanity,"  Seattle,  Wash. 

A  too  fleshy  face  is  a  drawback.  Massage 
will  help,  undoubtedly,  and  so  will  diet — that 
is  if  your  body  is  also  too  fleshy.  Fashion  ex- 
perts say  that  the  very  slim  figure  is  a  thing  of 
the  past — that  the  new  gowns  demand  more 
flesh.  Curves,  rathdr  than  straight  lines.  If 
this  is  so  you  have  less  to  worry  about!  It  is 
wrong  to  say  that  all  men  dislike  women  who 
are  inclined  to  be  plump.  Some  really  stout 
women  are  very  popular.  After  all,  disposi- 
tion and  charm  are  more  important  than  mere 
surface  good  looks. 


the  ENEMY  that  is  shortening  Your  life 


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The  fat  in  your  body  is  caused 
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Yeast  cells   in   your   stomach 


DANGER 


GUARANTEE D 
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combine   with   starch   and   sugar  and    form 

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Earle    E.   Liederman 
as  he  is  to-day 

Gee!  But  It's  Great 
To  Be  Healthy! 

Up  in  the  morning  brimming  with  pep.  Eat 
like  a  kid  and  off  for  the  day's  work  feeling  like  a 
race  horse.  You  don't  care  how  much  work 
awaits  you,  for  that's  what  you  crave — hard  work 
and  plenty  of  it.  And  when  the  day  is  over,  are 
you  tired'.'  I  should  say  not.  Those  days  are 
gone  forever.  That's  the  way  a  strong,  healthy 
man  acts.  His  broad  chest  breathes  deep  with 
oxygen  purifying  his  blood  so  that  his  very  body 
tingles  with  life.  His  brain  is  clear  and  his  eyes 
sparkle.  He  has  a  spring  to  his  step  and  a  con- 
fidence to  tackle  anything  at  any  time. 

Pity  the  Weakling 

Don't  you  feel  sorry  for  those  poor  fellows  dragging 
along  through  life  with  a  neglected  body?  They  are 
up  and  around  a  full  half  hour  in  the  morning  before 
tlicy  arc  half  awake.  They  taste  a  bite  of  food  and 
call  it  a  breakfast.  Shuffle  oft  to  work  and  drag 
through  the  day.  It's  no  wonder  so  few  of  them  ever 
succeed.  Nobody  wants  a  dead  one  banging  around. 
It's  the  live  ones  that  count. 

Strength  Is  Yours 

Wake  up  fellows  and  look  the  facts  in  the  face. 
It's  up  to  you  right  now.  What,  do  you  plan  to  be — 
a  live  one  or  a  dead  one?  Health  and  strength  are 
yours  if  you'll  work  for  them,  so  why  choose  a  life 
of  suffering  and  failure? 

Exercise  will  do  it.  By  that  I  mean  the  right  kind 
of  exercise.  Yes,  your  body  needs  it  just  as  much 
as  It  does  food.  If  you  don't  get  It  you  soon  develop 
mt:>  .t  Oat-chested,  narrow-shouldered  weakling  with 
B  brain  that  needs  all  kinds  of  stimulants  and  foolish 
treatments  to  make  it  act.  I  know  what  I  am  talk- 
ing about.  1  haven't  devoted  all  these  years  tor 
nothing.  Come  to  me  and  give  me  the  facts  and  I'll 
transform  that  body  of  yours  so  you  won't  know  it. 
I  will  broaden  your  shoulders,  fill  out  your  chest  and 
give  you  the  arms  and  legs  of  a  real  man.  Mean- 
while. I  work  on  the  muscles  in  and  around  your  vital 
organs,  making  your  heart  pump  rich,  pure  blood  and 

fmttlng  real  pep  in  your  old  backbone.  This  is  no 
die  talk.  I  don't  promise  these  things — I  guarantee 
them.  If  you  doubt  me,  come  on  and  make  me 
prove  it.     That's  what  I  like. 

Send  for  My  New  64-Page  Book 

"MUSCULAR  DEVELOPMENT" 

It  contains  forty-three  full-page  photographs  of 
myself  and  some  of  the  many  prize-winning  pupils  1 
have  trained.  Some  of  these  came  to  me  as  pitiful 
weaklings,  Imploring  me  to  help  them.  Look  them 
over  now  and  you  will  marvel  at  their  present 
physiques.  This  book  will  prove  an  Impetus  and  a 
real  Inspiration  to  you.  It  will  thrill  you  through 
and  through.  All  I  ask  Is  10  cents  to  cover  the  cost 
of  wrapping  and  mailing  and  it  Is  yours  to  keep. 
This  will  not  obligate  you  at  all.  but  for  the  sake  of 
your  future  health  and  happiness,  do  not  put  it  off. 
Send  to-day — right  now,  before  you  turn  this  page. 

EARLE  E.  LIEDERMAN 

Dept.   108,    305    Broadway,   New  York  City 

EARLE  E_  LIEDERMAN 

Dept.  108,  305  Broadway,  New  York  City 
Dear  Sir: — I  enclose  herewith  10  cents  for  which 
you  arc  to  send  me.  without  any  obligation  on  mv 
part  whatever,  a  copy  of  your  latest  book,    "Muscu- 
lar   Development."     Please  write  or  print  plainly. 

Name 

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^: 


: 


Brief  Reviews  of  Current  Pictures 


ABYSMAL  BRUTE,  THE  —  Universal.  —  A 
woman-shy  young  man  with  a  wallop  in  his  right  fist 
and  a  come-hither  in  his  eye,  played  by  Reginald 
Denny  in  a  way  both  manly  and  appealing.  Jack 
London  characters  faithfully  reproduced.  This  is  a 
picture  for  everybody.      (July.) 

ADAM  AND  EVA — Paramount-Cosmopolitan. — 
Marion  Davies  does  some  very  good  light  comedy 
work  as  a  spoiled  daughter  of  wealth.     (May.) 

ADAM'S  R!B— Paramount. — Cecil  de  Mille's 
latest — and  worst.  Started  out  to  be  an  epic  of  the 
flapper  and  wound  up  as  a  rhinestone-set  tale  of  the 
girl  who  sacrifices  her  reputation  to  save  her  mother. 
(May.) 

AFFAIRS  OF  LADY  HAMILTON,  THE— Hod- 
kinson. — Lady  Hamilton  comes  to  a  bad  finish,  but 
her  road  of  life  is  not  tedious  by  any  means.  Rather 
heavy  German  production.     Not  for  children.   (July.) 

ALICE  ADAMS— Associated  Exhibitors-Pathe. — 
A  true  celluloid  counterpart  of  Booth  Tarkington's 
tnoroughly  human  account  of  small-town  Indiana 
life.     (April.) 

ALL    THE    BROTHERS    WERE    VALIANT— 

Metro.— A  whaling  good  storv  of  the  sea.  though  over 
long.      (April.) 

ARE  YOU  A  FAILURE?— Preferred  Pictures.— A 
story  in  seven  reels  that  deserves  three.  It  may 
amuse  the  old  folks  and  children.  A  small  town 
seemingly  inhabited  entirely  by  actors.     (May.) 

BACKBONE  —  Distinctive  Pictures.— Anything 
but  distinctive — just  average.  A  far-fetched  tale, 
ornately  mounted.     (May.) 

BAVU — -Universal. — A  gorv  tale  of  Bolshevic 
Russia,  decidedly  artificial.  Th's  doesn't  apply  to 
Wallace  Beery,  however,  the  double-dyed  villain. 
Flappers  may  like  the  ultra-heroic  Forrest  Stanlev. 
(July.) 

BELLA  DONNA — Paramount. — Pola  Negri's  first 
American-made  picture  does  not  fit  her  as  well  as 
those  tailored  in  Berlin.  Pola  is  more  beautiful  but 
less  moving;  a  passion  flower  fashioned  into  a  poin- 
settia.     The  picture  is  thoroughly  artificial.     (June.) 

BELL  BOY  13— Ince-First  National.— Tries 
desperately  hard  to  be  funny.  Douglas  MacLean  all 
right,  but  this  is  a  two-reeler  that  didn't  know  when 
to  stop  growing.     (April. ) 

BOHEMIAN  GIRL,  THE— American  Releasing 
Corporation. — It  all  depends.  Ivor  Novello  and 
Gladys  Cooper.  Creaky  light  opera  retold  in  cellu- 
loid.    (April.) 

BOLTED  DOOR,  THE— Universal.— Husband 
and  wife  have  a  quarrel,  a  fortune  hunter  threatens 
to  break  up  what  little  domestic  happiness  is  left, 
but  virtue  triumphs  in  the  end.     (May.) 

BRASS — Warner  Brothers.— Not  for  those  who 
read  the  novel  by  Norris.  A  story  which  doesn't 
dare  anything.  Harry  Myers  excellent  in  small  role. 
(June.) 

BRIGHT  SHAWL,  THE— First  National.— A 
pretty  play  of  distinct  atmospheric  charm,  a  tale  of 
Havana  intrigue  with  Cuban  strugglers  for  liberty  on 
one  side  and  soldiers  of  Spanish  oppression  on  the 
other.  Well  acted  by  Richard  Barthelmess,  Dorothy 
Gish,  Jetta  Goudal  and  William  Powell.      (July.) 

BUCKING  THE  BARRIER— Fox—  Dustin  Far- 
num  beating  up  thugs  who  wouldst  thwart  him  from 
claiming  his  rightful  estates.     (June.) 

CAN  A  WOMAN  LOVE  TWICE?— F.  B.  O  — 

Apparently  she  can.     Ethel  Clavton,  as  the  harassed 
heroine  of  a  dull,  long-drawn  out  drama,  does.   (May.) 

CANYON  OF  THE  FOOLS— F.  B.  O.— After 
seeing  this  picture,  any  audience  will  agree  that  all 
the  fools  aren't  in  the  canyon.  Some  of  them  wrote 
and  directed  this  story.     (April.) 

CASEY  JONES,  JR.— Educational.— Two  reels  of 
good  fun  for  the  whole  family.  A  colored  porter  and 
a  goat  offer  some  amusing  gags.     (May.)  jr" 


CORDELIA    THE    MAGNIFICENT— Metro.— 

High  society  with  everybody  blackmailing  everybody, 
even  the  heroine,  who  does  it  unconsciously,  of 
course.      Badly  adapted   story.      (July.) 

COVERED  WAGON,  THE— Paramount.— The 
biggest  picture  of  the  screen  year.  Real  pioneers 
fighting  their  tortuous  passage  across  the  plains 
and  mountains.  Recommended  to  everyone,  without 
reservations.  A  Will  Hays  promise  made  good.  (May.) 

CRASHING    THROUGH— F.    B.    O—  Not    so 

bad — not  so  good.  A  Harry  Carey  jumble  of  heroics. 
(June.) 

CRINOLINE  AND  ROMANCE— Metro.— A  sac- 
charine picture  of  an  embittered  colonel  who  tries  to 
keep  his  granddaughter  away  from  the  lures  of  the 
wicked  world.      (April.) 

CRITICAL  AGE,  THE— Hodkinson.— Another 
Ralph  Connor  Glengarry  story,  well  told.  Lacking 
in  the  original  force  and  spiritual  element.    (July.) 

CROSSED  WIRES— Universal.— And  yet  another 
little  Cinderella.  She  prefers  sassity  to  the  switch- 
board, and  she  achieves  her  heart's  desire,  not  with- 
out some  heart-throbs  and  much  laughter.      (July.) 


AS  a  special  service  to  its  readers, 
Photoplay  Magazine  inaug- 
urated this  department  of  tab- 
loid reviews,  presenting  in  brief  form 
critical  comments  upon  all  photoplays 
of  the  preceding  four  months. 

Photoplay  readers  find  this  depart- 
ment of  tremendous  help — for  it  is  an 
authoritative  and  accurate  summary, 
told  in  a  few  words,  of  all  current  film 
dramas. 

Photoplay  has  always  been  first 
and  foremost  in  its  film  reviews. 
However,  the  fact  that  most  photo- 
plays do  not  reach  the  great  majority 
of  the  country's  screen  theaters  until 
months  later,  has  been  a  manifest 
drawback.  This  department  over- 
comes this — and  shows  you  accurately 
and  concisely  how  to  save  your  mo- 
tion picture  time  and  money. 

You  can  determine  at  a  glance 
whether  or  not  your  promised  eve- 
ning's entertainment  is  worth  while. 
The  month  at  the  end  of  each  tabloid 
indicates  the  issue  of  Photoplay  in 
which  the  original  review  appeared. 


DADDY — First  National. — A  shopworn  and  old 
fashioned  story  with  Jackie  Coogan  as  its  redeeming 
feature.     (May.) 

DARK  SECRETS— Paramount.— No  excuse  for 
this  in  this  day  and  age.  Dorothy  Dal  ton  pursued 
by  an  Egyptian  gent  with  Coue  ideas.      (April.) 

.     DEAD    GAME— Universal.— Hoot    Gibson    does 
some  hard  riding  and  fast  thinking.    (July.) 

DOLLAR  DEVILS  —  Hodkinson.  —  Dull  and 
dreary.     Small  oil  town  story — that's  all.     (April.) 

DOUBLE  -  DEALING  —  Universal.  —  A  stupid 
voting  man  buys  property  of  a  confidence  man,  and 
of  course  the  property  assumes  a  great  value.  Other- 
wise how  could  it  all  end  so  happily?      (July.) 

DRIVEN — Universal. — A  celluloid  surprise,  moun- 
tain folks — not  cabaret  hounds.  For  those  who  arc 
interested  in  the  best  on  the  screen.     (April.) 


DRUMS  OF  FATE— Paramount.— "Enoch  Ar- 
den"  up-to-date.  Mary  Miles  Minter.  Better 
attend  a  bridge  club  tonight.     (April.) 

ENEMIES  OF  WOMEN— Paramount-Cosmo- 
politan.— An  Ibanez  romance  filmed  in  Paris  and 
Monte  Carlo,  decorated  by  Urban,  dressed  by  Poiret 
and  girled  by  Ziegfeld.  A  million  dollars'  worth  of 
beauty,  including  Alma  Rubens,  and  superb  acting 
by  Lionel  Barrymore.      (June.) 

EX-KAISER  IN  EXILE,  THE— Hodkinson.— 
The  Ex-Kaiser  striding  through  many  acres  of  pleas- 
ant woodland  in  Holland  acting  like  a  caged  lion. 
Wilhelm  looks  quite  healthy — too  healthy  to  make 
the  film  enjoyable.     (May.) 

FAMOUS  MRS.  FAIR,  THE— Metro.— "Arise, 
Fred  Niblo,  Photoplay  dubs  you  a  directorial  knight 
of  the  screen."  A  perfect  motion  picture  and  a  per- 
fect cast.     You  can't  afford  to  miss  this.     (May.) 

FIGHTING  BLOOD— F.  B.  O.— One  of  the  best 
of  the  serials.  Whether  you  are  a  fight  fan  or  not, 
you  will  enjoy  them.     (April.) 

FIRST  DEGREE,  THE  —  Universal.  —  Frank 
Mayo  does  fine  work  as  a  misunderstood  brother. 
Sylvia  Breamer  weakens  the  story.     (April.) 

FOOLS  AND  RICHES— Universal.— The  hand- 
some hero  and  his  money  are  soon  parted,  but  being 
a  hero  he  wins  another  fortune,  and  being  handsome 
wins  the  girl.      (July.) 

FOUR  ORPHANS,  THE— Hodkinson.—  A  com- 
edy. Not  the  funniest  ever  made,  but  almost  amusing 
enough.     Charles  Murray  is  the  real  star.     (May.) 

FOURTH    MUSKETEER,     THE— F.     B.     O  — 

Johnnie  Walker  at  his  best  as  a  young  prize-fighter 
who  gives  up  certain  championship  for  the  little  wife. 
(June.) 

FURY — First  National-Inspiration. — A  he-picture 
of  the  sea  with  wallops  in  every  other  scene.  Richard 
Barthelmess  and   Dorothy  Gish.     (April.) 

GENTLEMAN  FROM  AMERICA,  THE— Uni- 
versal.— Hoot  Gibson  and  an  army  pal  adventuring 
in  a  Spanish  duchy.      (April.) 

GHOST  PATROL,  THE— Universal.— Fairly 
good  entertainment.  George  Nichols — new  star. 
Does  usual  stunt  of  walking  away  with  picture. 
(April.) 

GIMME — Goldwyn. — Slightly  over  the  average. 
Young  bride  who  has  to  beg  coin  from  husband  with 
inevitable  consequences.     (April.) 

GIRL     I    LOVED,  THE— United     Artists.— We 

recommend  this  without  a  single  qualification  to  the 
entire  family.  It  deserves  your  attention.  A 
fragile  wistful  little  lyric  inspired  by  J.  Whitcomb 
Riley's  poem  of  a  country  boy  who  loves  his  foster 
sister.  Ray  gives  one  of  the  best  performances  of 
the  screen  year,  superb  in  its  humanness  and  tender* 
ness.     We  cannot  recommend  it  too  highly.      (July.) 

GIRL   WHO  CAME   BACK,  THE— Preferred.— 

The  dear  girl  doesn't  come  back,  really,  but  she  does 
get  diamonds  and  two  husbands.  So  everybody's 
happy,  unless  possibly  the  audience.      (July.) 

GLIMPSES  OF  THE  MOON,  THE— Paramount. 
— Beautiful  sets,  beautiful  gowns  and  oh,  such 
beautiful  ladies!  In  a  word,  an  eyeful.  But  nothing 
much  for  the  heart.      (June.) 

GO-GETTER,  THE— Paramount-Cosmopolitan. 
— The  Go-Getter  has  lost  much  of  his  pep  passing 
from  magazine  to  screen,  but  it  is  a  pleasant,  well- 
round  narrative  for  a'  that.      (July.) 

GOSSIP— Universal.— Gladys  Walton  ends  a 
great  strike  and  marries  the  mill  owner — all  because 
she  is  a  sweet,  innocent  little  girl  who  knows  nothing 
of  life,  or  the  conventions.     (May.) 

GRUB  STAKE,  THE— American  Releasing  Cor- 
poration.— Fifty-seven  varieties  of  woodland  crea- 
tures, ranging  in  styles  from  boars  to  porcupines. 
Also  Nell  Shipman.    A  unique  forest  picture.   (June.) 

IB 


i6 


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GRUMPY — Paramount. — A  superb  character- 
ization by  Theodore  Roberts.      (June.) 

HER  FATAL  MILLIONS— Metro— A  swiftly 
moving  comedy  of  a  girl's  fib? — Viola  Dana's — to  a 
suitor  whom  she  believes    faithless.      (July.) 

ISLE  OF  LOST  SHIPS,  THE— First  National.— 

A  fantastic  romance  of  derelicts  in  the  Sargasso  Sea, 
screened  with  imagination  by  Tourneur.     (June.) 

JAVA  HEAD — Paramount. — From  Hergesheimer's 
novel.  Misses  much,  but,  even  so,  a  screen  drama 
well  above  the  average.     (May.) 

JAZZMANIA — Metro. — Another  generous  help- 
ing of  Mae  Murray  marshmallow  screen  fare.  (May.) 

LEOPARDESS,  THE— Paramount.— Montague 
Love  tries  taming  Alice  Brady,  a  wild  gal  of  the  South 
Seas.  He  also  tries  to  tame  a  leopardess — and  gets 
tamed  most  effectively.  The  leopardess  should  have 
ended  matters  in  the  first  reel.      (June.) 

LION'S  MOUSE,  THE— Hodkinson.— Blackmail, 
robbery,  hairbreadth  escapes,  the  papers  and  the 
poilsl    But  entertaining  for  a'  that.      (June.) 

LITTLE  CHURCH  AROUND  THE  CORNER, 

THE — Warner  Brothers. — A  situation  after  the 
manner  of  "The  Miracle  Man,"  with  a  wealthy  mine 
owner,  a  mine  disaster  and  a  minister.     (June.) 

LOST  AND  FOUND  —  Goldwyn.  —  Hollywood 
hokum  dropped  in  the  South  Seas.  A  beautiful  back- 
ground and  good  players  wasted.     (June.) 

LOVEBOUND— Fox.— A  well-knit,  consistent 
story,  with  strong  climaxes,  of  a  district  attorney  who 
falls  in  love  with  his  secretary.  The  girl's  father  is  a 
jewel  thief,  and  the  conflict  between  her  loyalty  to 
father  and  love  for  prosecutor  is  well-developed. 
Shirley  Mason  draws  sympathy.      (July.) 

LOVE  LETTER,  THE— Universal.— Gladys  Wal- 
ton, cute  and  big-eyed,  and  flapperly  satisfactory. 
Just  too  sweet  for  anything.     (April.) 

MAD  LOVE — Goldwyn. — Pola  Negri's  last  picture 
in  Germany.  They  have  changed  her  many  lovers 
to  husbands  in  the  American  titles.      (May.) 

MADNESS  OF  YOUTH— Fox.— An  engaging 
crook  enters  a  home  to  rob  a  safe,  meets  the  daughter 
of  his  victim,  etc.  Marriage  and  honor  in  the  end. 
John  Gilbert  is  sincere  and  with  Billie  Dove  makes 
the  affair  almost  plausible.      (July.) 

MAN  FROM  GLENGARRY,  THE— Hodkinson 
— Ralph  Connor's  erstwhile  best-seller  has  suffered 
in  the  screening,  but  the  logging  scenes  are  fine  and 
the  Canadian  landscapes  impressive.     (June.) 

MASTERS  OF  MEN— Vitagraph— Well-done 
story  of  the  Spanish-American  war.  Cullen  Landis 
fine.  Earle  Williams,  Alice  Calhoun  and  Wanda 
Hawley  in  the  cast.     (June.) 

MIDNIGHT  GUEST,  THE  —  Universal.  —  A 
young  lady  thief  who  reforms.  Not  quite  for 
children.     (May.) 

MIGHTY  LAK'  A  ROSE— First  National.— It 
makes  you  cry  and  that  is  about  the  highest  praise 
that  can  be  given  any  picture — even  if  it  is  a  little 
cloying  in  its  sweetness.    Worth  while.     (April.) 

MILADY — American  Releasing  Corporation. — 
Advertised  as  "beginning  where  'The  Three  Musket- 
eers' left  off,"  this  French  production  is  nearer 
Dumas  than  Douglas  Fairbanks.  Worth  while. 
(April.) 

MILLION  IN  JEWELS,  A— American  Releasing 
Corporation. — Our  old  favorite,  Helen  Holmes,  tries 
to  smuggle  in  the  Russian  Crown  Jewels.  Helen 
should  be  given  a  chance  to  smuggle  herself  into  a 
good  picture.     She  would  make  good.     (April.) 

MR.  BILLINGS  SPENDS  HIS  DIME— Para- 
mount.— Is  bullet-proof  farce  and  one  of  the  best 
things  of  its  kind  in  a  long  time.     (May.) 

MODERN  MARRIAGE  —  American  Releasing 
Corporation — The  team  of  Beverly  Bayne  and 
Francis  X.  Bushman  return  in  a  commonplace  story 
smoothly  screened.     (June.) 

NE'ER-DO-WELL,  THE— Paramount.  —  Not 
altogether  successful,  nor  altogether  uninteresting, 
for  Thomas  Meighan  is  in  it.   Old-fashioned.    (July.) 

NOBODY'S  BRIDE; — Universal. — A  runaway 
bride,  a  down-and-out  suitor  of  other  days,  a  bag 
of  jewels,  a  band  of  crooks,  etc.,  etc     (June.) 

NOBODY'S  MONEY— Paramount.— Light  com- 
edy, but  very  entertaining.     (April.) 

NOISE  IN  NEWBORO,  A— Metro.— Cinderella  of 
the  small  town  goes  to  the  city  and  comes  home  rich. 
Viola  Dana  gingers  up  this  weak  concoction.     (July.) 

NTH  COMMANDMENT,  THE  — Paramount- 
Cosmopolitan. — The  brave  little  girl  struggles  to 
maintain  her  home  when  her  husband  falls  desperate- 
ly ill.     The  human  note  is  missing.      (July.) 

OLD  SWEETHEART  OF  MINE,  AN— Metro  — 
J.  Whitcomb  Riley's  poem  screened  with  considerable 
charm  and  touches  of  melodrama.      (July.) 


OREGON  TRAIL,  THE— Universal.— A  serial 
that  has  real  historic  value  as  well  as  drama  and  sus- 
pense. If  the  boys  don't  like  history  in  school,  take 
them  to  see  this.     (April.) 

OTHELLO— Ben  Blumenthal.— A  German  adap- 
tation of  the  tragedy  directed  by  a  Russian,  in  which 
Emil  Jannings  is  a  German  Moor.     (May.) 

OUR  GANG  COMEDIES— Pathe.— One  hundred 
per  cent  kid  stuff — for  the  whole  family.  Don't  miss 
Little  Farina,  age  two,  colored.     (June.) 

PILGRIM,  THE— First  National.— Not  Chap- 
lin's best,  but  worth  anybody's  money.  The  great 
comedian  masquerading  as  a  minister.  Imagine 
that.     (April.) 

POOR  MEN'S  WIVES— Preferred  Pictures.— Not 
bad,  not  good.  Barbara  La  Marr  a  shabby,  dis- 
contented wife.     (April.) 

POP  TUTTLE,  DETEKATIVE— F.  B.  O—  Dan 

Mason  and  a  screamingly  funny  set  of  false  whiskers 
as  the  graduate  of  a  correspondence  course  in  de- 
tecting, furnishes  great  amusement.     (April.) 

POP  TUTTLE'S  POLECAT  PLOT— F.  B.  O  — 

Fashioned  after  the  Fontaine  Fox-Toonerville  Trolley 
type  of  cartoon  humor.     (May.) 

POWER    OF   A   LIE,    THE— Universal.— David 

Torrence  does  some  fine  work  as  the  harassed  liar. 
Complications  pile  up  until  everybody  lands  in  the 
police  court.     (April.) 

PRISONER,   THE— Universal.— An  extravagant 

plot  with  Herbert  Rawlinson  as  the  heavy  lover  who 
saves  a  little  blonde  from  an  unfortunate  marriage. 
(May.) 

PRODIGAL  DAUGHTERS  —  Paramount.  — 
Another  tirade  against  the  jazz  babies  of  1923.  This 
time  it  is  adapted  to  the  girl  who  leaves  the  old  home- 
stead only  to  return  in  the  snowstorm  of  Christmas- 
time.     (July.) 

PRODIGAL  SON,  THE  —  Stoll  Film  Corp.  — 
Steeped  in  the  gloom  of  church  yards  and  death- 
beds, lost  loves  and  debts.      (July.) 

QUEEN  OF  SIN,  THE— Not  sinful  but  awful. 
The  queen's  sin  is  weight.     (June.) 

QUICKSANDS— American  Releasing  Corpora- 
tion.— Drug  smuggling  across  the  Mexican  border  is 
stopped  by  Lt.  Richard  Dix  and  Helene  Chadwick 
of  the  Secret  Service.     (June.) 

RACING  HEARTS  —  Paramount.  —  Unless  the 
auto  stuff  has  been  worn  threadbare  with  you,  it  may 
entertain  you.  To  us  the  motor  seems  to  miss.  (May.) 

REMITTANCE  WOMAN,  THE— F.  B.  O—  Ethel 
Clayton's  loveliness  shines  out  from  the  dim  and 
mystic  East,  where  Ethel  gains  a  sacred  vase  and 
nearly  loses  her  life.      (July.) 

ROBERT    BRUCE    WILDERNESS    TALES  — 

Educational. — Mr.  Bruce  makes  the  scenery,  and  even 
the  dogs,  a  background  for  wee  stories  that  without 
much  plot  are  decidedly  interesting.     (April.) 

ROD  AND  GUN  SERIES— Hodkinson.— The 
wealth  of  detail  and  the  excellent  photography  don't 
quite  compensate  for  the  distaste  of  such  utter 
destruction  of  ducks,  geese,  quail  and  fish.    (May.) 

RUSTLE     OF    SILK,   THE— Paramount.— The 

triangle  of  a  British  statesman,  his  unfaithful  wife 
and  an  adoring  lady's  maid,  who  loves  the  statesman 
from  afar,  isn't  much  of  drama.  But  told  with  fine 
taste  and  discretion.  Betty  Compson,  Anna  Q. 
Nilsson  and  Conway  Tearle  excellent.      (July.) 

SAFETY  LAST— Pathe.— Harold  Lloyd's  best- 
seven  reels  that  speed  like  two.  Prepare  for  laughter, 
shrieks  and  general  hysteria.     (June.) 

SCARS  OF  JEALOUSY— First  National.— See 
"Poor  Men's  Wives."     Ditto.     (May.) 

SINGLE  HANDED— Universal.— Hoot  Gibson  as 
an  eccentric  musician  who  discovers  a  buried  treasure. 
Hoot's  better  at  handling  hosses.     (June.) 

SIXTY  CENTS  AN  HOUR— Paramount.— An 
ambitious  soda  clerk  plans  to  marry  the  daughter  of 
the  bank  president,  and  go  into  business — all  on 
seven-fifty  a  week.     A  riot  of  laughter.     (July.) 

SOUL  OF  THE  BEAST— Metro.— Cinderella 
elopes  with  an  elephant.  Hard  time  has  Cinderella, 
but  all  ends  well,  even  for  friend  elephant.     (July.) 

SOULS  FOR  SALE— Goldwyn.— A  Cook's  tour 
of  the  Hollywood  studios.  A  false  and  trivial  story, 
but  it  takes  you  behind  the  camera  and  is  very  enter- 
taining.    (June.) 

SPEEDER,  THE— Educational. — A  Lloyd  Ham- 
ilton comedy  that  tickles  the  funny  bone.     (April.) 

STEPPING  FAST— Fox.— Tom  Mix  mixes  with 
desperadoes.  He  saves  a  girl  from  the  rascals  after 
a  trip  to  China,  The  girl  says  "yes."     (July.) 

STORMSWEPT — F.  B.  O.— Wallace  Beery  trying 
to  be  a  successor  to  Rodolph  Valentino.  Not  for 
children — and  we  are  all  children  to  a  certain  extent! 
(May.) 


Every  advertisement  In  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


SUNSHINE  TRAIL,  THE— First  National— The 
story  of  a  nice  young  man  who  wants  to  spread  sun- 
shine everywhere  but  gets  under  a  cloud  in  his  own 
home  town.      (June.) 

SUZANNA— Allied  Producers.— Mack  Sennett 
tries  plot  instead  of  pies  without  so  much  success,  but 
Mabel  Normand  stirs  in  some  fine  humor.  Early 
California,  missions,  Spaniards — and  Mabel.    (June.) 

TEMPTATION— C.  B.  C.  Film  Sales  Corp.— 
Original  in  that  the  couple  who  are  struggling  un- 
happily under  the  weight  of  their  millions  do  not  lose 
the  bankroll  and  live  forever  in  a  cottage.     (July.) 

THREE  JUMPS  AHEAD— Fox— Tom  Mix  and 
his  horse  Tony  leap  a  chasm  and  give  you  an  hour 
of    Western    thrill    with    love    interest.     (June.) 

TIGER'S  CLAW— Paramount.— Jack  Holt  goes 
to  India,  gets  bit  by  a  tiger,  married  to  half-caste, 
and  mixed  up  in  poison  plots.     (June.) 

TILLERS  OF  THE  SOIL— Thoughtful,  but 
gloomy.  A  few  rays  of  sunlight  and  cheer  would 
help  it.     Made  in  France.     (April.) 

TOWN  SCANDAL,  THE— Universal.— Gladys 
Walton  is  a  chorus  girl  who  runs  out  of  a  job  and  goes 
home  to  write  her  memoirs  for  the  local  gazette.  Of 
course  the  poor  girl's  misunderstood.     (June.) 

TRAILING     AFRICAN     WILD     ANIMALS— 

Metro. — This  Martin  Johnson  picture  is  the  best  of 
its  kind.  The  best  animal  close-ups  ever  made,  and 
some  tremendous  thrills.      (July.) 

TRAIL   OF  THE  LONESOME  PINE,   THE— 

Paramount. — Mountaineers,  moonshiners,  Minter 
and  Moreno.  Also  Ernest  Torrence.  The  players 
are  the  thing.     (June.) 

TRIFLING    WITH    HONOR— Universal.— The 

story  of  a  home-run  king,  resembling  Babe  Ruth, 
who  is  the  idol  of  the  small  boys.  Intensely  dramatic 
and  worthy.      (July.) 

TRIMMED  IN  SCARLET— Universal.— Char- 
acters displaying  their  lack  of  sense  in  a  way  that 
may  earn  your  pity  but  not  your  sympathy.     (June.) 

VANITY  FAIR— Goldwyn.— Hugo  Ballin's  wor': 
manlike  visualization  of  Thackeray's  novel.  No. 
brilliant,  but  adequate.     (June.) 

VENGEANCE  OF  THE  DEEP— American  Re- 
leasing Corp. — Sharks,  devil  crabs,  sea  weed  and 
treasure  chests  make  the  under-sea  pictures  inter- 
esting and  thrilling.  But  the  actors  on  dry  land  are 
not  so  interesting.      (July.) 

VOICE   FROM   THE    MINARET,    THE— First 

National. — A  reunion  of  Norma  Talmadge  and 
Eugene  O'Brien.     Good.     (April.) 

WAGGIN'  TALE,  A— F.  B.  O— Sorry  to  say  that 
a  clever  dog  actor  takes  all  the  honors  away  from  the 
Carter  De  Havens.     (May.) 

WESTBOUND  LIMITED— F.  B.  O.— A  homely, 
sympathetic  tale  built  about  the  railroad  and  its  men. 
A  love  interest,  too — though  hardly  necessary.    (July.) 

WHAT  A  WIFE  LEARNED— First  National.— 
It  was  the  husband  who  learned  and  it  required  six 
reels.  You  feel  that  he  should  have  gotten  wise  in 
the  second.     How  Milton  Sills  suffers.     (April.) 

WHAT  WIVES  WANT— Universal.— After  many 
reels  the  husband  realizes  that  all  business  and  no 
love  will  wreck  any  marriage.  You  probably  will 
realize  it  from  the  first.     (July.) 

WHEN  KNIGHTS  WERE  COLD— Metro— It 
follows  the  scenery  and  action  of  "Robin  Hood"  with 
some  surprising  results  and  some  not  so  surprising. 
(April.) 

WHERE  THE  PAVEMENT  ENDS— Metro- 
Ramon  Novarro  (girls,  don't  miss  him)  and  Alice 
Terry  in  what  seems  to  us  Rex  Ingram's  best  picture. 
Recommended.     (May.) 

WHILE  PARIS  SLEEPS— Hodkinson— You  will, 
too.  Wouldn't  have  thought  this  of  Maurice 
Tourneur.     Better  stay  at  home.     (April.) 

WHITE  FLOWER,   THE— Paramount.— Hawaii 

and  Betty  Compson  are  alluring.  Nothing  else 
matters  if  you  like  them.     And  who  doesn't?   (June.) 

WITHIN  THE  LAW— First  National.— An  ex- 
pensive production  with  big  names,  but  lacking 
inspiration  and  vitality.  Norma  Talmadge  seems 
afraid  to  act.  The  best  work  is  that  of  Lew  Cody  as 
the  crook.     (July.) 

WOMAN  OF  BRONZE,  THE— Metro.— Clara 
Kimball  Young  as  the  wife,  who  after  disillusionment 
and  anguish  proves  to  be  the  ideal  woman  for  her 
husband.     (June.) 

WORLD'S  APPLAUSE,  THE— Paramount.— 
Bebe  Daniels.  Story  of  publicity  built  idol  who  gets  in- 
volved and  demolished.  She's  innocent.     (April.) 

WORLD'S  A  STAGE,  THE— Principal  Pictures. 
■ — Elinor  Glyn's  Hollywood  might  just  as  well  have 
been  laid  in  any  other  small  town.     (April.) 

YOU  CAN'T  FOOL  YOUR  WIFE— Paramount. 
— Good  money  and  players  wasted  upon  an  absurd 
Story.  Again  the  husband  on  the  edge  of  the  restle-s 
forties,  the  neglected  wife  and  the  regulation  vampire. 
(July.) 

YOUR  FRIEND  AND  MINE— Metro— Really 
good  but  slightly  silly.  The  wife  is  too  trusting,  the 
villain  too  bad,  the  ruined  girl  too  resigned.     (May.) 


Get 
Into  the 

MOVIES 

No  Beauty  Contest 

NEW  EASY  WAY! 


Here  is  the  opportunity  of  a 
lifetime — a  chance  to  get  into  the 
movies  by  a  short  cut — a  new 
easy  way!  No  special  qualifica- 
tions needed  —  no  professionals 
accepted. 

All  Types— All  Ages 

We  want  new  types — men, 
women  and  children  of  all  ages — 
to  take  part  in  Arrow  Picture's 
coming  feature,  "Gambling 

Wives."  Good  salaries.  Big 
Opportunity.  This  picture  will 
be  directed  by  Dell  Henderson, 
who  worked  with  D.  W.  Griffith. 
It  will  be  filmed  in  Hollywood — 
we  will  send  ten  people  to  Cali- 
fornia, all  expenses  paid! 
The  Road  to  Fame 

This  is  the  most  startling  offer 
you    ever    read — it    opens    for    you 


the  same  road  that  Mary  Pick- 
ford,  Theodore  Roberts,  Mary 
Carr  and  Jackie  Coogan  and  hun- 
dreds of  other  successful  men  and 
women  traveled. 

A  Mammoth  Production 

"Gambling  Wives"  is  to  be  one 
of  the  greatest  pictures  of  the 
year.  It  will  be  featured  in  lead- 
ing theatres  throughout  the 
United   States. 

This  is  your  opportunity  tc 
break  into  the  movies  with  a 
crash!  Don't  hesitate.  You  may 
be  the  very  type  we  want!  No 
matter  where  you  live  you  can 
try  for  a  part  in  Arrow  Pictures 
by  mailng  this  ad.  with  your 
name  and  address.  Send  it  this 
minute — if  you  wait,  you  may  be 
too    late   to   qualify. 


J.  D.  LYMAN,  Mgr.,    Dept.  68,    630  W.  Jackson  Blvd.,  Chicago,   111. 


15  to  50  Dollars  a  week  for  your 
Spare  Time  —  No  Canvassing 
—  Experience  Unnecessary  — 
Free  Outfit  — Write  for  Illustrated  Booklet  and  Terms  Free. 

UNITED   SHOW   CARD  STUDIO 
213  Dinan  Bldg.  DETROIT,  MICH. 


1*^  Jk  '|*|.*  MTQ  Write  today  for  free  in- 
¥~   l\     I      r*,il|  ^  struction  book  and  Record 

*  *"•  *  *^*  '  *  **■'  of  Invention  blank.  Send 
sketch  or  model  for  personal  opinion.  CLARENCE  A. 
O'BRIEN,  Registered  Patent  Lawyer,  923  Southern 
Building,  Washington,  D.  C 


"Don't  Shout" 


"I  hear  you.      I  can  hear 
now  as  well  as  anybody. 
How'?    With  the  MORLEY 
PHONE.  I've  a  pair  in  my  eais 
now,  but  they  are  invisible.  1 
would  not  know  1  had  them  in  _ 
myself,  only  that  I  hear  all  right. 
The  MORLEY  PHONE  for  the 


is  to  the  ears  what  glasses  j 
ate  to  the  eyes.      In- 
visible, comfortable,  weight- 
less and  harmless.     Anyone 
can  adjust  it.    Over  100,000  sold.    Write  for  booklet  and  testimonials. 

THE  MORLEY  CO.,Dept.789.26  S.  15th  St.  Phila. 


EAF 


SAVE  YOUR  BODY 

Conserve  Your  Health  and  Efficiency  First 

"I  Would  Not  Part  With  It  tor  $10,000" 

So  writes  an  enthusiastic,  grateful  customer.     "Worth  more  than  a  farm," 
says  another.     In  like  manner  testify  over  100,000  people  who  have  worn  it. 

THE  NATURAL 
BODY  BRACE 

Overcomes  WEAKNESS  and  ORGANIC 
AILMENTS  of  WOMEN  and  MEN.  De- 
velops erect,  graceful  figure.  Brings  rest- 
ful relief,  comfort,  ability  to  do  things, 
health  and  strength. 


Wear  It  30  Days  Free 
At  Our  Expense 

Does  away  with  the  strain  and 
pain  of  standing  and  walking; 
replaces   and  nupports  mis- 
placed internal  organs;  re- 
duces enlarged  abdomen; 
straightens  andstrength- 
ens   the   back;  corrects 
stooping  shoulders;  de- 
velops  lungS,  chest  and 

bust;  pel  Leves  backache, 

curvnfureB.  nervousness, 
ruptures,     constipation, 
after  effects  of  Flu.  Com 
fortublo  and  easy  to  wear. 

Keep  Yourself  Fit 

Write  today  for  illustrated  book- 
let,  measurement  blank,  etc..  and 
read  our  very  liberal  proposition. 


HOWARD  C.  RASH 


Pres.    Natural    Body    Brace    Co. 
330  Rash  Bldn...  SAUNA.  KANSAS 


WI.pti  TO'  writ"  tr 


,„„,,tir.,  fT'OTT'T,  \Y  t'C^tnc;, 


ID 


Photoplay  Magazine — Advertising  Section 


"Some  skins  are  especially 
susceptible  to  blackheads; 
they  require  a  special  method 
of  cleansing. " 


Blackheads  are  a  Confession 


Blackheads  are  a  confession  that  your  skin 
is  not  getting  the  care  it  needs. 

Some  skins  are  especially  susceptible  to 
blackheads.  If  your  skin  has  a  tendency 
to  be  large-pored  or  oily,  or  if  it  is  very 
much  exposed  to  dust  and  soft  coal  smoke 
— then  you  will  find  that  blackheads  have 
a  tendency  to  form.  You  will  have  to  use 
a  special  method  of  cleansing  in  order  to 
overcome  this  trouble. 

This  treatment  has  benefited  thousands 

Thousands  of  girls  and  women,  by  using 
this  special  treatment,  have  found  that 
they  can  keep  their  skin  absolutely  tree 
from  blackheads — fresh  and  smooth  and 
clear  as  a  child's  in  this  respect — 

Every  night  before  retiring,  apply  hot 
cloths  to  your  face  until  the  skin  is 
reddened.  Then  with  a  rough  washcloth 
work  up  a  heavy  lather  of  Woodbury's 
Facial  Soap  and  rub  it  into  the  pores 
thoroughly,  always  with  an  upward  and 
outward  motion.  Rinse  with  clear  hot 
water,  then  with  cold.  If  possible  rub 
your  face  for  thirty  seconds  with  a  piece 
of  ice.  To  remove  blackheads  already 
formed,  substitute  a  flesh  brush  for  the 
washcloth  in  this  treatment.  Then  protect 
the  fingers  with  a  handkerchief  and  press 
out  the  blackheads. 

Use  this  treatment  persistently,  and  within 
even  a  week  or  ten  days  you  will  see  a 


decided  improvement.  In  time  this  dis- 
figuring trouble  will  vanish  altogether. 

Different  types  of  skin  need  different  care 

This  is  only  one  of  the  famous  treatments 
given  in  the  booklet,  "A  Skin  You  Love 
to  Touch,  "  which  is  wrapped  around  every 
cake  of  Woodbury's  Facial  Soap.  You  will 
find  a  special  treatment  for  each  different 
type  of  skin  in  this  booklet. 

Get  a  cake  of  Woodbury's  Facial  Soap 
today,  and  begin,  tonight,  the  right  treat- 
ment for  your  skin.  You  will  be  surprised 
to  see  how  easily  you  can  overcome  de- 
fects in  your  complexion — how  your  skin 
will  gain,  day  by  day,  in  clearness,  softness, 
brilliancy. 

The  same  qualities  Three  Woodbury  skin  preparations — 

that    give    Wood-  guest-size — for  10  cents 

bury's   its   beneficial  THE  ANDREW  JERGENS  co. 

ettect  in  overcoming  508   Spring  Grove  Ave.,  Cincinnati,  Ohio 

common  skin  troub-  for  the  enclosed  10  cents-  Please  send  me  a  min- 

les  make  it   ideal  for  iature  set  of  the  Woodbury  skin  preparations, 

regular  toilet  use.  A  containing 

25     cent     cake     of  A  trial  size  cake  ofWoodbury's  Facial  Soap 

\vr~    ju    _  •      i  A  sample  tube  of  the  new  Woodbury's  Facial 

Woodbury  s    lasts    a  Cream 

month  or  six  weeks  A  sample  box  ofWoodbury's  Facial  Powder 

for    regular   use    in-  Together  with  the  treatment  booklet,    "A  Skin 

dj-    °                r     i_  You  hove  to  Touch." 

uding   any   of  the  If       ,.     .    _      -,       , ,       _,     .    , 

•  °.    -n,,'       ,1  It  you  live  in  Canada,  address  The  Andrew 

Special   Woodbury  Jergens  Co.,  Limited       508  Sherbrooke  St., 

treatments.      Wood-  Perth,  Ontario.  English  Agents:  H.C.  Quelch 

bury's  also  comes  in  &  ^-°->  4  Ludgate  Square,  London,  E.  C.  4. 

convenient   3-cake       XT 

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Cut  out  this  coupon  and  send  it  to  us  today 


Copyright,  1923,  by  The  Andrew  Jergens  Co. 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  Is  Guaranteed. 


Hesser 


New 
Fietere: 


PVELYN  BRENT  recently  gave  up  her. 
-*— '  role  of  leading  woman  for  Douglas 
Fairbanks,  feeling  that  the  period  between 
productions  was  too  long.  The  lure  of  ap- 
pearing in  his  new  spectacle,  ''The  Thief  of 
Bagdad,"  apparently  held  nothing  for  her 


Lglmton 


T  EW  CODY  came  mighty  near  hanging  out  a  sign  reading,  Dr.  Lewis  Joseph  Cote. 
*~*  He  packed  up  his  medical  diploma  and  sought  work  on  the  stage.  Despite 
his  early  success  as  a  "male  vampire,"  he  refused  to  continue  in  that  type  of  role 


Sputr 


'"THIS  unusual  study  presents  an  interesting  phase  of  the  many  sided  Norma 

*■  Talmadge.  Hers  is  an  ever  changing  and  broadening  personality.  Miss  Norma 

Talmadge   is  one  of     the    most    distinguished    graduates    of    old    Vitagraph 


Johnston 


r\OROTHY  KNAPP  ha6  come  to  films  after  winning  a  prize  at  the 
*-'  Atlantic  City  beauty  show  of  1922.  Last  Winter  she  topped  it  all  by  winning 
New    York    City's    Venus   contest.    Photoplay    predicts    a    brilliant    future 


Hesser 


/^ORINNE  GRIFFITH  is  one  of  the.  pulchntudinous  dozen  of  filmdom— the 
^^  beauties  of  celluloidia.  She  was  born  in  Texas,  educated  in  New  Orleans, 
came  to  the  films  after  winning  the  first  prize  for  beauty  at  a  Mardi  Gras  ball 


Hesser 


OLEANOR  BOARDMAN  is  one  of  those  screen  rarities:  the  winner  of  a 
-L/  film  contest  who  seems  likely  to  justify  herself.  She  comes  from  Phila- 
delphia and  found  photoplay  opportunity  after  losing  her  voice  behind  the  footlights 


Bull 


r\    W.  GRIFFITH  once  said  that  Bessie  Love  was  the  most  promising  young 

actress  he  had  ever  directed.    Somehow,  after  her  rare  first  days  at  old 

Triangle,  something  blooked   her  progress.  Now,  she  is  returning  to  her  own 


Qb  eliminate  washing -risks- 

Jippiy  this  simple  soap-test  before  you  choose 
soap  for  precious  garments 


There  is  a  way  to  test  soap  for  delicate 
fabrics,  like  silk,  wool  and  lace — a  sim- 
ple, yet  conclusive,  test  which  can  be 
made  merely  by  asking  yourself  this 
question: 

Would  I  use  this 
soap  on  my  face? 

This  is  the  test.  If  your  answer  is  "no," 
think  twice  before  you  risk  your  precious 
garments. 

Ivory  Flakes  will  protect  your  delicate 
garments  because  it  could  not  harm 
your  shin.  Ivory  Flakes  is  simply  Ivory 
Soap  in  flake  form  —  the  very  same 
Ivory  Soap  that  has  protected  the  com- 
plexions of  millions  of  women  for  44 
years — pure,  mild,  gentle,  white. 


Many  women,  knowing  Ivory's  purity, 
used  to  shave  the  Ivory  cake  to  mike 
their  own  flakes.  Now  Ivory  Flakes — 
thinner  than  rose  petals  —  may  be 
bought,  ready  for  instant  suds,  in  the 
convenient  blue  and  white  package 
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Besides  having  a  unique  margin  of 
safety  for  your  most  delicate  things, 
Ivory  Flakes  has  the  additional  advan- 
tage of  economy— you  can  use  it  for 
all  the  heavier  garments  that  require 
careful  washing. 

Simple  directions  for  using  Ivory  Flakes 
will  be  found  on  the  package;  but  we 
should  like  to  have  the  privilege  of 
sending  you   our  illustrated    booklet, 


SOAP 


"The  Care  of  Lovely  Garments,"  con- 
taining many  additional  suggestions 
which  we  believe  will  be  of  value  to 
you. 

At  the  same  time,  we  shall  send  you  a 
sample  package  of  Ivory  Flakes,  with- 
out charge.  You  will  find  directions 
for  ordering  in  the  lower  right-hand 
corner  of  this  page. 

Remember — Ivory  Flakes  has  a  margin 
of  safety  beyond  other  soaps  for  the 
most  precious  things  you  own. 

Full-size  packages  of  Ivory  Flakes  art 
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stores  everywhere, 

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She  "held  her  breath" 

The  owner  of  thi*  charming  dress  (un  canton 
crepe  and  pussywillow  taffeta  in  Paisley  colors) 
thousht  sour  milk  had  ruined  it.  "However." 
she  says,  'I  held  my  breath  and  plunged  the  dress 
into  Ivory  Flakes  suds.  It  came  out  so  beauti- 
fully that  I  have  laundered  it  no  less  than  20 
times,  exactly  as  I  would  a  cotton  dress.  The 
colors  are  as  fresh  as  new.  With  Ivory  Flakes, 
one's  clothes  seem  almost  indestructible." 
20  Washings  with  Ivory  Flakes — Safe! 
This  dnis  and  owner's  letter  on  file  in  the  Pneter  It 
Gamble  office. 


FREE — This  package  and  booklet 

A  sample  package  of  Ivory  Flakes  and  the  beautifully 
illustrated  booklet,  "The  Care  of  Lovely  Garments, 
will  be  sent  to  you  without  charge  if  you  will  mail  a 
post  card  request  to  Section  45-HF.  Dept.  of  Home 
Economics,  The  Procter  A  Gamble  Co.,Cincinnati.O. 


^' 


GopyrlcM  1*2*.  by  Tho  proctor  A  GombU  Co..  CbMrbuutl 


Volume  XXIV 


The  "Rational  guide  to  SMotion  Pictures 


Number  Three 


(TRADE   MARK] 


PHOTOPLAY 


August,  1923 


Speaking  of  Pictures 


By  James  R.  Quirk 


AS  this  issue  of  Photoplay  goes  off  to  the  presses  the  news 
comes  of  a  striking  new  recognition  of  the  functions  of  the 
motion  picture  in  the  greater  affairs  of  the  world  and  its  service 
of  the  causes  of  civilization.  On  the  desk  of  David  Wark 
Griffith  at  Times  Square,  on  Broadway,  there  is  pending  a 
picture  proposal  that  reaches  down  into  the  diplomatic  secrets 
and  world  policies  of  far-away  Downing  Street  in  London. 

A  proposal  from  patriotic  and  influential  British  subjects — 
which  merely  means  the  government  operating  through  one  of 
its  many  unofficial  but  none-the-less  effective  channels — has 
came  to  Griffith  to  make  a  great  spectacular  production  in 
India  which  shall  carry  a  propaganda  message  to  the  world. 

The  British  Empire  wants  peace  in  India.  The  effective 
answer  to  Ghandi,  and  the  effective  appeal  to  the  potential 
colonists  of  the  white  world,  can,  these  British  leaders  feel,  be 
more  forcefully  phrased  in  the  motion  picture  than  in  any  of 
the  other  media  of  modern  propaganda.  It  is  something  of  a 
testimonial  to  the  screen. 

There  is,  too,  something  which  perhaps  pleases  our  patriotic 
pride  in  having  this  commission  laid  before  an  American 
master  of  the  art  that  is  so  peculiarly  American.  Regardless  of 
what  the  ultimate  fate  of  the  tentative  project  may  be,  all  of  the 
elements  of  the  recognition  are  real. 

SOMETHING  of  the  immortality  of  good  work  even  in  the 
fragile,  fleeting  medium  of  the  films  is  indicated  in  the  an- 
nouncement from  the  offices  of  D.  W.  Griffith  that  "Judith  of 
Bethulia"  is  reissued,  available  to  the  independent  state's  right 
exchanges.  "Judith  of  Bethulia"  is  the  oldest  American 
masterpiece  of  the  screen,  the  greatest  picture  which  Griffith 
made  at  the  culmination  of  "the  golden  age  of  Biograph,"  now 
a  decade  in  the  past.  It  antedates  "The  Birth  of  a  Nation." 
In  the  cast  are  Blanche  Sweet,  Lillian  and  Dorothy  Gish,  Henry 
Walthall,  Mae  Marsh,  Elmo  Lincoln  and  many  another  now 
enshrined  in  screen  fame. 

Five  years  ago  "Judith  of  Bethulia"  was  reissued  by  other 
interests  under  the  banal  title  of  "Her  Condoned  Sin"  and 
failed  for  lack  of  adequate  presentation.  Now  that  it  has  come 
again  to  the  hand  of  its  maker,  perhaps  the  justice  of  a  fuller 
appreciation  may  be  expected. 

WELL,  the  authors  and  the  producers  got  right  down  to 
cases  at  the  first  international  congress  on  motion  picture 
arts  held  under  the  auspices  of  the  Authors  League  of  America, 
in  New  York  City  recently.  It  was  just  a  happy  family,  and 
what  a  grand  time  they  had  telling  each  other  how  much  the 
other  didn't  know  about  pictures.  Of  course  the  story  is 
always  the  thing,  but  what  seems  difficult  for  the  author  to 
understand  is  that  the  motion  picture  has  its  own  art  form  and 
that  it  is  impossible  to  follow  a  book  literally  from  the  first 
paragraph  to  the  last. 


THE  best  answer  to  the  author  who  insists  on  a  literal 
adaptation  of  his  novel  is  given  by  an  author,  who  is  now 
one  of  our  rising  young  directors,  Rupert  Hughes.  He  screened 
his  own  story,  "Souls  for  Sale,"  and  the  plot  of  the  book  can  be 
found  in  the  screen  version  only  with  a  high  powered  micro- 
scope. 

Yet  it  is  a  picture  that  will  entertain  millions.  It  has  in  it 
everything  that  the  literary  technicians  say  it  should  not  have. 
Yet  it  can  be  rated  as  very  worth  while  and  worth  anyone's 
quarter  or  fifty  cents. 

WE  motion  picture  devotees  are  getting  mighty  hard  to 
please.  Did  you  ever  stop  to  realize  how  the  motion 
picture  is  developing  the  critical  sense  of  the  American  people? 
The  average  motion  picture  goer  is  familiar  not  only  with  the 
personnel  of  the  profession,  but  with  the  technical  terms  of  the 
business.  Everyone  thinks  he  would  make  a  good  scenario 
writer  or  director,  and  it  has  become  part  of  the  pleasure  of 
attending  the  theater  to  dissect  the  picture  and  tell  how  it  can 
be  improved. 

AFTER  all,  what  is  the  test  of  a  good  motion  picture? 
From  what  viewpoint  should  we  review  pictures  and  guide 
Photoplay  readers  in  the  expenditure  of  their  motion  picture 
time  and  money? 

Should  the  professional  critic  or  reviewer  approach  them  as 
art  subjects,  submitting  them  to  the  hypercritical  standards  of 
a  profound  intimacy  with  painting,  sculpture,  literature  and 
music? 

Or  as  an  average  human  being  seeking  a  few  hours  of  enter- 
tainment, of  vicarious  adventure  and  romance,  or  as  a  mental 
anesthesia  that  will  blot  out  for  a  few  hours  the  sometimes  stern 
and  bitter  realities  of  life? 

FOR  its  part  Photoplay  will  continue  to  "report"  pictures 
for  its  readers.  It  will  tell  them  if  the  picture  is  worth  while 
entertainment.  It  will  warn  them  against  the  shoddy,  unclean, 
and  absurd  ones,  and  direct  their  pennies  toward  the  theater 
when  it  can  conscientiously  recommend  them. 

WHENEVER  they  want  to  show  some  uncouth  characters 
in  the  Hollywood  studios  they  send  out  for  some  of  the 
old  coots  whose  motion  picture  asset  is  a  rough,  shaggy  beard 
and  straggling  hair  that  hits  their  coat  collar.  The  barbers  are 
their  deadly  enemies. 

Eddie  Dillon,  the  director,  wanted  about  twenty  of  these 
professional  extras  to  play  Kentucky  mountaineers— you  know 
the  sort  that  gather  around  the  illicit  still  and  throw  off  a  jug 
of  moonshine  in  one  swallow. 

"Hey,  Frank,"  he  yelled  at  his  assistant,  "get  me  twentv 
airdales  for  tomorrow." 

27 


They  stood  on  the  peak  of  dreams  fulfilled — King  Vidor  a  recognized 

great  director,  Florence  a  film  idol  and  famed  beauty,  and,  with  them, 

little  Suzanne  with  her  father's  eyes  in  her  mother's  lovely  face.    And 

then — separation 


Why  Did 

TheVidors 

Separate? 


Childhood  sweethearts 

who  achieved  everything  that 

young  lovers  dream  of 

— only  to  part 


ByAdela  Rogers  St.  Johns 


IT  began  when  he  carried  her  books  home  from  school.  . 
And  it  ended — shattered  to  shreds — just  a  little  while  ago, 
at  the  very  mountain  peak  of  success  and  achievement  and 
fulfilled  desire. 

The  story  of  King  and  Florence  Vidor,  as  the  world  outside 
knows  it,  is  a  tremendous  story  of  modern  marriage  that  cannot 
be  ignored,  because  it  is  a  mystery  story  without  an  answer. 

Nothing  has  ever  happened  in  Hollywood  which  has  caused 
greater  surprise — or  regret. 

For  most  things,  Hollywood  can  understand.  Most  things, 
Hollywood  foresees.  But  for  years  it  has  watched  the  Yidors  as 
its  favorite  children,  has  loved  and  enjoyed  their  wedded  bliss, 
has  pointed  with  pride  to  their  happy  home  life. 

Whenever  the  discussion  of  Hollywood  and  its  matrimonial 
and  moral  difficulties  arose,  we  said:  "But  look  at  the  Yidors." 

And  now  the  matrimonial  bark  of  the  Vidors  has  been 
wrecked  upon  some  hidden  reef  in  the  pitching  sea  of  life — some 
deeply  buried  and  uncharted  rock  that  in  itself  is  a  tragedy. 

There  is  no  more  delightful  love  story  in  modern  literature 
than  the  true  story  I  can  sketch  for  you  concerning  King  Vidor 
and  pretty  Florence  Arto  of  Texas.  There  is  no  more  pathetic 
climax. 

Neither  ever  had  any  other  sweetheart.  Because,  even  in 
grammar  school  days,  red  apple-pigtail-and-marblc  days,  they 
were  soopenly  devoted  that  the  rest  of  the  world  passed  them  by. 

9ft 


And  as  Florence  grew  lovelier  and  became  the  acknowledged 
belle  and  beauty  of  the  southern  town  where  they  lived,  that 
same  devotion  discouraged  the  swarm  of  ardent  swains  that 
gathered  about  her  doorstep. 

There  never  was  any  other  boy  for  Florence.  There  never 
was  any  other  girl  for  King. 

I  imagine  that  even  in  the  party  games  of  post-office,  none 
but  King  ever  won  a  letter  from  the  town  beauty. 

And  then,  one  night,  in  a  southern  garden,  with  the  night- 
blooming  jasmine  scattering  its  magic  perfume  all  about  them, 
they  looked  into  each  other's  eyes  and  knew  the  greatest  secret 
in  all  the  world — the  secret  of  young  love. 

They  were  very  young — oh,  very,  very  young.  But  they 
knew.  And  she  put  her  hand  in  his,  and  they  stood  shoulder  to 
shoulder  and  looked  out  courageously  and  happily  along  the 
road  of  life. 

So  they  were  married,  just  as  they  had  intended  to  be  in  the 
days  of  her  gingham  frocks  and  his  short  pants. 

Dreamers,  both  of  them.  Ambitious,  filled  with  great 
romantic  desires  and  longings.  Ahead  of  them,  hidden  in  the 
clouds  of  the  unguessable  future,  they  saw  the  high  mountain 
peaks  of  success  and  fine  accomplishment  and  fame  they  meant 
to  climb. 

The  way  was  pretty  rough  and  rugged  to  start  with. 

But  it  was  the  kind  of  a  journey  that  binds  two  hearts  forever 


in  a  thousand  shared  memories, 
a  thousand  deeper  understand- 
ings, a  thousand  appreciations 
of  courage  and  helpful  hands 
and  laughter. 

They  started  out  from  the 
little  town  in  Texas  in  a  Ford. 
It  wasn't  easy  going,  that  long 
hard  drive,  the  camps  at  night, 
the  endless  mountains  in  the 
day  time. 

It  took  longer  than  they  had 
figured  and  they  hit  San 
Francisco  without  money 
enough  for  their  next  meal. 
But  King  had  a  shotgun.  So 
they  pawned  it,  and  spent  the 
little  money  with  reckless  good 
fellowship,  sitting  on  high 
stools  in  cheap  restaurants, 
planning  the  dinners  they 


Florence  Vidor,  screen  colony's 
favorite  beauty  —  almost  their 
idol — one  woman  about  whom  all 
other  women  agree  as  to  her 
beauty,  charm  and  sweetness  of 
disposition 


There  was  an  air  of  southern  hospitality  within 
their  home — the  home  they  built  together — where 
Florence  now  lives  alone  with  little  Suzanne 


would  order  when  their  ship  came 
in.  The  first  years  in  Hollywood  were 
lean  enough.  For  King  Vidor  was  a 
young  crusader  in  pictures  in  those 
days.  He  saw  with  a  vision  clearer, 
and  perhaps  nearer  to  a  higher  in- 
telligence. For  he  believed  in  a  great 
many  things  that  most  picture  pro- 
ducers did  not  believe  in. 

He  had  a  creed,  and  an  aim,  and  a 
clean  driving  young  mind  and  soul 
behind  it.  Somehow,  after  working 
at  odd  jobs  here  and  there  and  eating 
none  too  regularly,  he  sold  himself  to 
enough  people  to  make  his  first 
picture,  "The  Turn  in  the  Road." 

And  Florence's  beauty  could  not 
be  hidden.  She  played  a  part  in 
"The  Tale  of  Two  Cities"  with 
William  Farnum.  The  editor  of 
Photoplay  saw  her,  and,  in  the  next 
issue,  a  page  appeared  with  Florence's 
picture  and  the  words,  "Here  is  a 
star!" — the  first  recognition  of  her 
great  gifts. 

The  worst  was  over  then.  It  was 
just  a  case  of  a  steady,  uphill  climb. 
Until,  not  so  long  ago,  they  stood 
upon  that  very  mountain  peak  they 
had  dimly  seen  so  far  ahead. 

Success    was    theirs,    tremendous 

success   for  two  youngsters  still  in 

their   twenties.     Their   names   were 

known  around  the  world.     Florence  stood 

among  the  famous  beauties  of  the  twentieth 

century.    King's  name  was  recognized  in  the 

list  of  the  ten  great  motion  picture  directors. 

They  had  fulfilled  their  dreams.    And  with  them, 

on  the  mountain  peak,  stood  a  small  person  with 

her  father's  eyes  in  her  mother's  lovely  face.     A 

29 


small  person  whose  name  is 
Suzanne  Vidor  and  who  loved 
them  both  very  much. 

It  is  difficult  to  make  you 
understand  just  all  the  Vidors 
had  and  all  they  stood  for. 

There  was  no  more  gracious, 
more  delightful  home  in  all 
Hollywood  than 'Florence  Vidor's.  It  had,  somehow,  that  air 
of  southern  hospitality,  of  serene  personality  and  cheer  that 
belonged  to  Florence  herself.  There  were  little  touches-every- 
where  that  spoke  of  happiness.  The  bright  fire  blazing. 
The  scattered  music  upon  the  piano.    The  shaded  lights. 

Their  names  stood  for  the  respect  and  the  admiration  of  a 
community  of  people  who  loved  them — really  loved  them. 

Florence  Yidor  is  the  screen  colony's  favorite  beauty.  She  is 
almost  their  idol.  She  is  the  one  woman  about  whom  all  other 
women  agree  as  to  her  beauty  and  her  irresistible  charm  and 
sweetness  of  disposition. 

They  believed  in  the  same  religion.  They  were  doing  the 
same  work.  Their  interests  and  their  careers  were  identical. 
They  had  money  enough  to  buy  the  very  stuff  that  dreams  are 
made  of — the  things  you've  always  wanted  and  never  had. 

When  Florence  gave  a  party,  you  found  the  most  delightful 
and  intellectual  and  worthwhile  people  gathered  under  her  roof. 
And  you  found  that  circle,  that  gathered  only  in  a  few  other 
homes,  expressing  a  sincere  and  complete  friendship  for  the 
young  host  and  hostess. 

Mary  Pickford  and  Douglas  Fairbanks  entertained  them. 

Laurette  Taylor  and  Hartley  Manners  found  them  the  most 
congenial  people  in  Hollywood  during  their  stay  there. 

Fred  Niblo  and  Enid  Bennett  and  the  Charlie  Rays  were 
devoted  to  them, 
i    Then,  suddenly,  came  the  rumor  of  a  separation. 

Florence  sailed  for  Honolulu.  Came  back  to  admit  that,  for 
the  time  at  least,  she  and  King  had  agreed  to  disagree — that 
the  future  was  indefinite — that  she  might  sue  for  divorce  or  she 
might  not— that  she  and  King  were  still  friends. 

And  Hollywood,  stunned,  said:  "Well,  if  they  can't  make  a 
success  of  marriage,  who  can?    What  separated  them?    What's 

30 


the  matter  with 

them?" 

But  as  yet  there  is 
no  answer. 

There  is  one  thing 
certain.  The  Vidor 
separation  proves 
conclusively  that  the 
thing  that  makes  for 
happy  marriages  is 
deeper,  infinitely 

deeper  than  outward  compatibility,   than  professional  com- 
munion, than  success  and  money  and  friends  and  a  home. 

For  all  these  things  belonged  to  King  and  Florence  Vidor. 
But  behind,  behind  it  all  must  have  been  some  creeping  serpent 
of  doubt,  or  jealousy,  or  ego,  or  lack  of  understanding  in  the 
really  important  things. 

In  the  relation  of  marriage  there  are  many  things  that  the 
public  can  heVer  see.  Perhaps,  since  the  starlit  night  in  the 
jasmine  garden,  King  and  Florence  Vidor  have  actually 
become  other  persons  altogether.  And  those  persons  may  look 
even  more  charming  to  the  outside  world — but  they  may  not  be 
at  all  the  persons  King  and  Florence  Vidor  want  to  live  with. 

Success  hasn't  turned  their  heads,  that's  certain.  Anyone 
who  knows  them  knows  that  they  realize  too  much  what  is  still 
to  be  done  even  to  be  semi-satisfied  with  what  has  been  done. 

But  success  has  undoubtedly  changed  them.  Perhaps  King 
wanted  the  girl  in  the  jasmine  garden  to  be  a  delicious,  adoring 
housewife  and  not  a  celebrated  beauty  and  a  successful  actress. 
Perhaps  Florence  Vidor  expected  different  things  from  the  boy 
who  sold  the  shotgun  in  San  Francisco.  Perhaps  they  married 
too  young,  before  either  of  them  had  actually  had  a  chance  to 
find  out  much  about  life,  and  about  sex,  and  about  what  they 
really  wanted  from  marriage.  Perhaps  they  were  too  young  to 
know  love  in  its  real  meanings  at  all.  And  in  these  years  of  the 
long  upward  struggle,  perhaps  they  have  never  had  time,  nor 
opportunity  to  sec  this.    And  to  say  so  to  each  other. 

Perhaps  Hollywood,  the  Hollywood  of  hard  play  and  hard 
work,  has  suddenly  inspired  young  King  Vidor  to  sow  his  crop 
of  wild  oats  that,  in  his  youth,  |  continued  on  page  103  ] 


How  Twelve  Famous  Women  Scenario 
Writers  Succeeded 


in  this  profession  of 

unlimited  opportunity  and  reward 


Anita  Loos  was  born  in  California  of.  French  Huguenot 
ancestry.  At  sixteen  she  sold  her  first  script  to  D.  W.  Griffith. 
She r  wrote  some  of  Doug  Fairbanks'  best  known  early  com- 
edies. She  met  John  Emerson,  then  directing  Doug,  and 
married  him.  Read  the  story  of  her  start  in  pictures  in 
"  the  Romantic  History  of  the  Motion  Picture"  in  this  issue 


A  LL  of  them  normal,  regular  women.  Not 
temperamental  "artistes,"  not  short 
haired  advanced  feminists,  not  fadists.  Just 
regular  women  of  good  education  and 
adaptability  who  have  caught  the  trick 
of  writing  and  understand  the  picture 
mind.  These  twelve  women  are  essen- 
tially the  feminine  brains  of  the  motion 
picture  business,  making  good  equally 
with  men.  The  field  of  scenario  writing 
is  unique  in  its  possibilities  for  women. 
Several  of  the  twelve  writers  here  pictured 
have  earned  as  high  as  a  half  million  a 
year,  and  most  of  them  earn  from  five 
hundred  to  a  thousand  a  week. 


Frances  Marion  began  her  career  as  a  newspaper  reporter 
in  San  Francisco,  her  home  city,  and  became  an  illustrator 
and  special  writer.  Attracted  to  pictures,  she  became  an 
extra  in  Mary  Pickford's  company  in  order  to  learn  film 
technique.  She  wrote  a  script  for  Mary,  took  up  the  work 
seriously,  came  to  New  York  and  hit  high  success 


Ouida  Bergere  came  to  the  screen  via  the  fool- 
lights.  Born  in  Spain,  she  went  on  the  stage 
when  quite  young.  She  wrote  her  first  script 
for  Pathe  as  an  experiment.  She  kept  writing 
throxtgh  the  various  stages  of  her  career  as 
players'  representative,  play  agent  and  manager. 
She  is  married  to  George  Fitzmaurice,  the 
director.  June  Mathis  was  born  in  Leadrille, 
Col.,  and  educated  in  San  Francisco  and  Salt 
Lake  City.  She  went  on  the  stage  as  a  child 
and,  as  an  actress,  began  writing  for  the  screen. 
Miss  Mathis  is  one  of  the  foremost  scenarists 
and  much  of  the  credit  for  the  discovery  of 
Rodolph  Valentino  and  the  production  of  "  The 
Four  Horsemen"  goes  to  her 


31 


V/here  do  the  Successful  Screen  Writers  Come 


Olga  Printzlau  is  the  daughter  of  a  Danish  mother  and  a 
Russian  writer,  although  she  ivas  born  in  Philadelphia. 
She  began  writing  for  news-papers,  studied  portrait 
•painting,  but  gave  it  up  to  try  writing  scenarios.  Like 
Anita  Loos,  she  sold  her  first  script  to  D.  W.  Griffith. 
She  wrote  eighteen  before  she  had  another  accepted.  Olga 
Printzlau  is  distinctly  a  home  person.  She  has  a  daughter 


Margaret  Timibull  was  born  in  Scotland  and  came  to  the 
screen  after  considerable  success  as  a  writer  of  plays  and 
novels.  She  has  been  devoting  herself  to  scenarios  for  a 
long  time  and  has  some  sixty  scripts,  both  originals  and 
adaptations,  to  her  credit.  Her  brother,  Hector  Turnbull, 
formerly  a  dramatic  critic,  is  also  a  well  known  scenarist. 
With  her  brother,  she  is  the  author  of  several  dramas 


Clara  Beranger  was  born  in  Baltimore  and  educated  at 
Goucher  College.  She  became  a  newspaper  writer  and 
then  began  to  contribute  to  magazines.  She  made  the 
step  to  motion  pictures  in  the  early  pioneer  screen  days 
and  wrote  her  first  stories  for  Putin'  and  Fox.  For  a  long 
time  she  wrote  exclusively  for  Baby  Marie  Osborne.  She 
is  married 


Jane  Murfin  was  the  wife  of  a  Detroit  lawyer  when  she 
became  interested  in  the  stage.  She  took  up  playwright- 
ing  and  then  scenario  writing — becoming  very  successful. 
This  she  attributes  to  her  extensive  reading.  She  has  a 
fine  education.  It  vxis  but  a  step  to  the  active  production 
of  -pictures.  Miss  Murfin  owns  Strongheart,  the  dog 
star,  and  has  made  much  money  with  her  productions 


From?    The  Answer  is— EVERT    PLACE 


Beulah  Marie  Dix  was  born  in  the  Pilgrim  town,  Ply- 
mouth, Mass.,  and  educated  at  Radcliffe  College.  She 
began  writing  children's  stories,  tried  short  stories  and 
then  wrote  three  or  four  highly  successful  romantic  novels. 
Miss  Dix  turned  to  the  stage  and  contributed  several 
successful  dramas.  Then  she  became  an  active  screen 
worker  and  has  many  successful  scripts  to  her  credit  . 


Marion  Fairfax  ivas  born  in  Richmond,  Va.,  and  edu- 
cated at  Emerson  College  in  Boston.  Miss  Fairfax  wrote 
a  number  of  successful  dramas  and  incidentally  became 
the  wife  of  Tully  Marshall,  the  actor.  It  was  quite 
natural  that  both  should  turn  to  Los  Angeles,  the  center 
of  screendom,  for  their  united  efforts.  She  has  directed 
several  pictures 


Eve  Unscll  hails  from  Kansas.  She  laid  her  plans  care- 
fully for  a  career  as  a  playwright.  She  was  graduated 
from  a  Missouri  college,  took  a  special  course  at  the 
Missouri  State  University  and  matriculated  at  Emerson 
College  in  Boston  with  a  two  year  literary  and  dramatic 
course.  She  went  on  the  stage  to  get  a  working  knowl- 
edge of  the  drama  arul  there  wrote  her  first  scripts 


Sada  Cowan  was  educated  on  the  continent  and  began 
writing  in  Paris.  Successful  as  a  short  story  writer,  she 
turned  to  one  act  vaudeville  playlet*  with  equal  success. 
She  look  up  scenario  writing  by  chance,  first  adapting 
one  of  her  own  plays  to  the  films.  She  became  a  regular 
script  worker  with  Famous  five  years  ago  and  has  a  lung 
line  of  celluloid  dramas  to  her  credit 


33 


P" 


What  are 


There  never  has  been 

a  better  year 

for  the  beginner 

in  pictures, 

say  the  men  who  know 

— but  they  mal^e 

emphatic  qualifications 


Casting  director  Robert  B.  Mclntyre  o) 
Goldwyn  consulting  his  files  in  quest  of 
the  right  types  for  a  picture.  These  files, 
common  to  all  studios,  contain  photo- 
graphs of  registered  applicants,  together 
■with  index  cards  giving  their  descriptions, 
qualifications,  addresses  and  telephone 
numbers 


These  men  ought  to  know- 

The  chances  of  a  beginner  in  pictures — The 
most  vital  and  interesting  question  of  the  studios 
is  answered  by  the  greatest  authorities: 


Rex  Ingram 
Allan  Dwan 
John  M.  Stahl 
Charles  Maigne 
Director  for  Lasky. 


David  Wark  Griffith 

Cecil  B.  de  Mille 

Marshall  Xeilan 

Hobart  Henley 

L.  M.  Goodstadt,  Casting 

Harry  Kerr,  Casting  Director  for  Metro. 

Clarence  Jay  Elmer,  Casting  Director  of  Cos- 
mopolitan Productions. 

RohertB.  McIxtyre, Goldwyn  CastingDirector. 

William  Cohill,  Eastern  Paramount  Casting 
Director. 

James  Ryan,  Casting  Director  for  Eastern  Fox 
studios. 


Clarence  Jay  Elmer,  casting  director  of  the  Cosmopolitan  Pro- 
ductions, has  a  soft  spot  in  his  heart  for  beginners  because  he  has 
been  there  himself,  starling  his  career  as  Little  Lord  Fauntleroy 


3k 


the  Chances  of  a  Beginner 


The  "Little  Green  Window"  of  the  Fox  studio,  where  casting  director  Ryan  passes  on  profdes  and  deals  in  destinies.    Many 
a  celebrity  of  today  started  on  the  road  to  fame  at  this  window — Alice  Lake,  Wanda  Hawley,  Peggy  Sharp,  and  others 


THERE  never  was  a  time  in  the  history  of  the  motion 
picture  when  there  was  a  greater  demand  for  trained 
players.     Those  of  established   reputations  are   being 
offered  more  engagements  than  they  can  accept,  with 
the  result  that  some  of  them  are  working  in  three  productions 
at  the  same  time.     The  demand  for  stars  is  greater  than  the 
supply  because  of  the  tremendous  increase  in  productions. 

Believing  that  the  opportunities  for  beginners  are  greater 
than  ever  before,  Photoplay  has  conducted  a  comprehensive 
research,  getting  plain, -practical  statistics  and  opinions  from 
the  directors  to  whom  the  beginner  must  go  for  employment. 
In  a  word,  \vc  are  presenting  the  best  market  reports  from  the 
most  authoritative  sources.  There  are  conflicting  views,  as  is 
always  the  case  in  an  honest  campaign  of  this  sort. 

S.  R.  Kent,  general  manager  of  the  great  Famous  Players- 
Lasky  corporation,  declares  that  now  is  the  time  for  the  person 
with  ability  to  try  for  the  cinema.  There  is  no  limit  as  to  types, 
in  his  opinion.  He  refers  particularly  to  the  Hollywood  studios 
where  the  tremendous  production  activity  has  caused  keen 
rivalry  among  producers  for  the  services  of  first-rate  players. 
On  the  other  hand,  E.  J.  Ludwigh,  secretary  for  the  same 
corporation,  says  there  are  practically  twenty-five  thousand 
experienced  actors  and  actresses  out  of  work  in  New  York 
today.  "What  chance  has  the  untrained  little  home  girl  or 
nice  young  stenographer  with  such  competition?"  he  asks. 


D.  W.  Griffith  says  there  is  always  a  c nance  ior  tne  right  sort 
of  beginner.  And  Rex  Ingram  coincides  in  this  view,  declaring 
that  he  believes  the  motion  picture  offers  greater  opportunities 
for  young  people  than  any  other  business  because  it  is  new  and 
not  rigidly  organized,  and  by  its  very  nature  requires  new  faces. 
Marshall  Neilan  is  not  so  optimistic.  "Despite  the  fact  that 
production  has  reached  its  highest  point  in  years,  I  would  not 
encourage  outsiders  to  attempt  entering  the  field  at  this  time. 
While  there  is  a  shortage  of  players  now  this  shortage  applies  to 
people  established  as  actors  and  actresses." 

But  all  authorities  agree  on  one  point,  that  the  problem  is  up 
to  the  individual,  and  from  their  special  statements  for  Photo- 
play the  individual  may  gain  the  best  possible  insight  into  the 
problem. 

DAVID  WARK  GRIFFITH— Director 

"HPHERE  is  always  a  good  chance   for  the  right  sort  of 
JL  beginner.    That  applies  to  every  field  of  human  activity. 

Indeed,  in  making  motion  picture  dramas  I  am  inclined  to  favor 

beginners. 

"They  come  untrammcled  by  so-called  technique,  by  theories 

and  by  preconceived  ideas. 

"If  you  were  to  ask  me  what  sort  of  beginner  I  liked  best,  I  would 

say  in  brief:    I  prefer  the  young  woman  who  has  to  support 

herself  and  possibly  her  mother.     Of  necessity,  she  will  work 


The  beginner's  first  step — registering  for  extra 
work  at  the  casting  director's  office.  Lorrie  Larsen 
is  filling  out  the  questionnaire  here  under  the  eye  of 
Neal  Harper,  assistant  canting  director  at  the  Lasky 
studio.  Miss  Larsen  is  one  of  the  best-known  extras 
in  Hollywood 


hard.  Again.  I  prefer  the  nervous  type.  I  never 
engage  a  newcomer  who  applies  for  work  without 
showing  at  least  a  sign  or  two  of  nervousness. 
If  she  is  calm,  she  has  no  imagination.  The 
imaginative  type  can  picture  the  glamorous 
future  with  its  possible  great  success  —  and  is 
always  nervous.  Imagination — and  nerves — are 
highly  essential. 

"To  me,  the  ideal  type  for  feminine  stardom 
has  nothing  of  the  flesh,  nothing  of  the  note  of 
sensuousness.  My  pictures  reveal  the  type  I  mean. 
Commenters  have  called  it  the  spirituelle  type. 
But  there  is  a  method  in  my  madness,  as  it  were. 
The  voluptuous  type,  blooming  into  the  full 
blown  rose,  cannot  endure.  The  years  show  their 
stamp  too  clearly.  The  other  type — ah,  that  is 
different! 


"  When  I  consider  a  young  woman  as  a  stellar 
possibility  I  always  ask  myself:  Does  she  come 
near  suggesting  the  idealized  heroine  of  life? 
Every  living  man  has  an  ideal  heroine  of  his 
dreams.  Thus  the  girl,  to  have  the  real  germ  of 
stardom,  must  suggest — at  least  in  a  sketchy  way 
— the  vaguely  formulated  ideals  of  every  man. 
Again,  she  must  suggest — and  this  is  equally  Im- 
portant— the  attributes  most  women  desire.  If 
she  is  lucky  enough  to  have  all  these  things,  she 
may  well  look  forward  to  popularity  and  success 
— if  she  has  great  determination." 


REX  INGRAM— Director 

IE  beginner  must  get  the  right 


THE  beginner  must  get  the  right  attitude 
toward  the  motion  picture  as  a  career.    It's 
not  a  game;  it's  a  business. 


"A  beginner  has  one  chance  in  fire  thousand,"  says 
James  Ryan,  casting  director  for  the  Fox  stitdios  in 
New  York,  interviewing  an  applicant  ivho  is  willing  to 
take    the    chance 


"A  beginner  in  most  any  profession  expects  to 
spend  several  years  at  a  university,  during  which 
he  must  have  enough  money  to  pay  his  way.  He 
earns  nothing. 

"If  the  beginner  in  motion  pictures  would  take 
a  similar  attitude  there  would  be  fewer  hard  luck 
stories.  Extras  do  not  get  work  every  day,  by 
any  means.  It  takes  time  to  learn  a  business,  and 
during  that  time  you  cannot  expect  to  earn  a 
great  deal. 


L.  M.  Goodsladl,  casting  director  for  the  Lasky 
Hollywood  studio,  smiles  optimistically — even 
though  he  turns  them  away.  "There  never  was  a 
more  opportune  time  for  the  right  type  of  girl," 
says  he  "but,  on  the  other  hand,  only  one  in  a  thou- 
sand has  the  stuff  of  which  stars  are  made" 


8G 


"There  are  hordes  of  extras  in  Hollywood;  there  arc  hordes 
of  beginners  in  every  business.  But  we  haven't  enough  intelli- 
gent, educated,  well-bred  young  people  with  imagination. 

"I  believe  the  motion  picture  offers  greater  opportunities  for 
young  people  than  any  other  business,  because  it  is  new  and  not 
rigidly  organized.     By  its  very  nature  it  requires 
new  faces.     Its  stock  is  personalities  and  that  stock 
must  be  continually  replenished  in  order  to  offer 
novelty. 

"Directors  now  realize  more  fully  the  value  of 
discovering  new  talent  than  they  did  a  few  years  ago. 
Every  company  is  eager  for  new  personalities  of  dis- 
tinction who  may  be  developed  as  star  material. 

"Not  only  is  the  industry  in  an  expansive  mood 
right  now  but  it  is  more  open  for  experimentation. 
Producers  realize  that  the  only  way 
to  reduce  high  salaries  is  by  develop- 
ing more  talent  for  competition." 

CECIL  B.  DE  MILLE— 
Director 

""KTEVER  were  chances 
JLN  better  for  the  beginner. 
After  a  player  has  been  in 
pictures  five  or  more 
years,  the  public 
seems  to  tire  of  him, 
to  a  more  or  less  de- 
gree, and  to  cry  out 
for  new  faces.  This  is 
perhaps  more  true 
right  at  this  time  than 
it  has  ever  been,  be- 
cause we  have  reached 
a  period  when  the  first 
generation  of  players, 
the  pioneers  of  1910 
and  thereabouts,  are 
slowly    passing    out. 


A  test  for  the  beginner — the  appraising  eye  of  William  Cohill,  casting  director 

for  Eastern  Paramount.  ■  If  an  applicant  can  pass  this  look  without  fainting 

dead  away  he  can  face  the  camera  with  considerable  assurance 


"All  producers  and  directors  hope  to  get  a  new  face  which 
will  please  the  public  and  most  particularly  a  new  feminine  face. 
We  have  found  that  the  public's  pleasure  is  so  lucrative  in  this 
connection  that  we  can  afford  to  experiment.  Every  studio  is 
giving  new  people  more  chances  than  ever  to  show  their  ability. 
And  I  would  say  that  the  road  to  the  top  is 
quicker  than  ever.  If  a  new  player  shows  that 
rare  quality  which  is  'box  office  appeal,'  lack  of 
training  is  not  a  detriment.  We  can  quickly 
supply  sufficient  dramatic  training  if  the  per- 
sonality seems  strong  enough  to  attract  and 
hold  the  attention  of  the  theater-going  public. 
"But  the  personality  today  needs  to  be 
stronger,  more  forceful. 

"There  is  more  work  in  motion  pictures  than 
there  is  supply  of  people  who  are 
sufficiently  popular  with  the  pub- 
lic to  justify  their  employment. 
We  must  therefore  be  ever  keen  to 
develop  new  people." 

ALLAN  DWAN— 
Producer  and  Director 

"  'HPHE  race  is  not  to  the 
J-  swift,  nor  the  battle 
to  the  strong;  but  time 
and  chance  happeneth  to 
them  all.'  Ecclesiastes 
9:11. 

"  If  a  beginner  in  motion 
pictures  is  financially  able 
to  bide  his  time  and  wait 
for  his  chance  there  may 
be  great  opportunities  for 
him  in  screen  work, 
provided  the  spark  is 
there.  But  one  should  not 
hope,  at  the  beginning,  to 

[  CONTINUED  ON  PAGE  Io6  ] 


Applicants  in  the  wailing  room  of  the  Cosmopolitan  studio  sit  from  early  morning  until  closing  time  at  night,  Imping  fur  the  glance  of  a 
director  in  quest  of  types.    Each  beginner  must  adopt  this  policy  of  watchful  wailing,  jiist  as  Merton  did 


37 


The 

Lady 

of  the 

Vase 

By 
Adela  Rogers  St.  Johns 


Norma  Talmadge  embodies  the  rare  perfection  and  polish  and  beauty  of  a  vase — the  vase 

of  the  Chinese  legend  which  was  so  adored  by  the  young  Prince  that  it  was  miraculously 

changed  into  a  lovely,  living  woman 


THE  moment  you  start  to  write  about  Norma  Talmadge 
you  are  affected  by  her  own  viewpoint  about  herself. 
A  "nothing-to-get-excited-about-be-yourself-we're-all- 
human"  sort  of  viewpoint  that  forces  you  into  a  position 
of  telling  the  truth,  the  whole  truth, and  nothing  but  the  truth. 
Charlie  Chaplin  has  an  interesting  theory  that  the  develop- 
ment of  an  ego  is  necessary  to  the  development  of  an  artistic 
career — both  as  a  protective  measure  (like  a  porcupine's  quills) 
and  a  mental  cocktail. 
Maybe  so. 

38 


But  if  he's  right,  I  don't  see  how 
Norma  Talmadge  has  risen  to 
such  artistic  heights. 

In  all  my  life  I  have  never  met 
a  person  with  so  little  ego. 

There  is  no  method  in  the  world 
by  which  you  can  force  Norma 
Talmadge  into  the  center  of  any 
gathering.  No  amount  of  schem- 
ing will  make  her  occupy  the  spot- 
light. There  is  no  way  in  which 
you  can  make  her  assume  that  she 
is  the  important  person  in  any 
conversation. 

Just  can't  be  done,  that's  all. 
Not  that  she  is  shy  and  retiring. 
Far,  oh  very  far,  from  it.  But 
she's  just  "one  of  us" — whether 
there  are  fifty  people  in  the  room 
or  two.  And  the  idea  of  "The 
Great  Norma  Talmadge"  elevated 
on  a  pedestal  and  delivering 
opinions  tickles  her  sense  of  humor 
so  that  it's  impossible  for  her, 
splendid  actress  as  she  is,  to  get 
away  with  it. 

There  is  no  question  of  Norma's 
position  upon  the  screen.  She 
holds  her  place  as  one  of  the  lead- 
ing dramatic  actresses  of  the 
silversheet  against  foreign  in- 
vasion, new  discoveries  and  every 
effort  to  unseat  her. 

Mary     Pickford     and     Norma 
Talmadge.      The   great    develop- 
ment of  the  motion  picture,  the 
millions  of  dollars  thrown  into  its 
market,  the  spread  of  its  appeal, 
have  no  effect  upon  these  favorites. 
And  it  is  doubly  remarkable  in 
that   I   have   never   known   two 
women    so    utterly,     completely 
different  in  every  way. 
Mary  awakens  your  love. 
Norma  awakens  your  admira- 
tion. 
Mary  makes  you  long  to  be  of  service  to  her. 
Norma  makes  you  long  to  have  her  friendship. 
Mary  shrinks  from  life — from  its  ugliness,  its  crowds,  its  joys 
and    sorrows    and    depths.      The    staring    throngs    make  her 
unhappy  and  shy.    She  loves  the  life  of  a  recluse,  devoted  to  her 
work,  surrounded  by  a  few  very  close,  beloved  friends. 

Norma  loves  life — down  to  the  last  drop  in  the  cup.  Her 
hands  reach  out  for  more  of  it  without  fear  or  favor.  She  is 
vitally  interested  in  people.  The  staring  throngs  bother  her  not 
at  all — either  she  doesn't  see  them,  or  she  stares  back.     She 


adores  parties  and  lights  and  gaiety  and  excite- 
ment and  people — oh,  lots  of  people,  with  new 
ideas  and  new  emotions  and  new  faces. 

Mary  Pickford  is  a  sort  of  divine  child,  who 
always  seems  far  away  from  you,  glowing  in  a 
soft  light,  filled  with  a  genius  she  herself  hardly 
understands.  Norma  Talmadge  is  an  intelligent, 
brilliant  woman  of  the  world,  with  every  faculty 
keyed  to  the  highest  pitch,  constantly  animated 
by  a  keen  sense  of  humor  and  a  restless  eagerness. 

Mary's  work  is  her  life. 

Norma 's  work  is  her  profession. 

I  like  to  call  Norma  "The  Lady  of  the  Vase." 

There  is  an  old  Chinese  legend,  which  I  dis- 
covered in  a  dust-encrusted  volume  while  I  was 
poking  about  an  old  book  store  one  day,  which 
tells  a  tale  concerning  a  young  Prince  who  owned 
a  beautiful  vase,  the  most  perfect  vase  in  all 
China. 

Now,  says  the  story,  the  handsome  young 
Prince  loved  this  vase  more  than  all  his  posses- 
sions. None  of  the  other  priceless  treasures  which 
filled  his  palace  won  from  him  more  than  a  pass- 
ing glance. 

And  because  he  was  a  wise  and  good  Prince, 
who  had  served  his  people  faithfully,  the  gods 
rewarded  him.  One  day,  as  he  sat  gazing  at  his 
vase,  its  form  changed  and,  behold,  there  stepped 
down  from  the  pedestal  a  living,  breathing 
woman,  who  embodied  all  the  rare  perfection  and 
polish  and  beauty  of  his  vase. 

The  Lady  of  the  Vase  had  come  to  life,  as 
Galatea  came  to  life  for  Pygmalion,  and  she  and 
the  Prince  were  married  and  lived  happily  ever 
after. 

Whenever  I  think  of  the  Lady  of  the  Vase,  I 
always  think  of  Norma  Talmadge.  Often,  when 
I  see  a  cloisonne  vase  that  is  particularly  lovely, 
it  reminds  me  of  Norma.  I  can  think  of  no  other 
way  to  describe  to  you  that  colorful,  aloof, 
polished  charm  of  hers. 

I  have  met  but  three  absolutely  natural  women 
in  my  life. 

One  was  a  Duchess  with  whom  I  happened  to 
cross  the  North  Sea  in  a  very  rough  gale  on  a  very 
small  steamer  which  seemed  determined,  between 
them,  to  land  us  all  in  a  watery  grave. 

One  was  a  lady  in  jail  for  shooting  a  couple  of 
her  husbands. 

The  other  is  Norma  Tal- 
madge. 

Marie  Antoinette  in  the 
gardens  of  petite  Trianon. 

(By  the  way,  I  should  like 
to  see  her  play  Marie  Antoin- 
ette, sometime — and  Portia.) 

And  there  is  something  in 
Norma's  character  that  makes 
me  perfectly  sure  that  she 
would  walk  up  the  steps  of 
the  guillotine  as  daintily  and 
as  indifferently  as  any  18th 
century  marquise. 

It  never  makes  any  differ- 
ence where  you  find  Norma — 
at  the  Sixty  Club,  in  the 
swimming  pool,  on  location, 
on  the  set.  Her  manner 
never  varies  a  fraction. 

I  saw  her  the  other  morn- 
ing shopping  on  Hollywood 
Boulevard,  her  hair  flying, 
her  nose  powderless,  her  slen- 
derness  accentuated  by  a 
straight  pink  and  white  apron. 

She  was  having  the  best  time  and  she  had  forgotten  everybody 
and  everything — most  of  all  Norma  Talmadge. 

She  never  admits  her  identity  if  she  can  help  it.  One  day  in 
a  theater  lobby  a  group  of  girls  dashed  up  and  said,  "Oh,  you 
are  Norma  Talmadge,  aren't  you?"  Norma  opened  surprised 
eyes,  pulled  her  hat  over  her  ears  and  said,  "My  gracious,  no! 
Is  she  around  here?" 


Above,  the  star  who  at  home  is  Mrs.  Joseph 
Schenck.  At  the  left,  her  husband,  one  of  the 
wealthiest  and  shrewdest  of  producers,  ivho  re- 
lieves her  of  every  detail  of  worry  and  strife 
about  her  pictures.  Theirs  is  one  of  the  happiest 
marriages  in  all  film  records 


It  isn't  upstage.  It's  a  form  of  bashfulness. 
She  will  not  be  gushed  over  and  she  finds  it  hard 
to  accept  her  fame  and  the  adulation  that  goes 
with  it. 

Norma  originated  "cat  parties"  in  Hollywood. 
Of  course  you  know  what  cat  parties  are.  Soirees 
for  ladies  only.    Female  smokers. 

And  the  most  entertained — and  very  often  the 
©Spun  most  silent — person  in  the  room  is  usually  Norma 

Talmadge.  She  gets  a  tremendous  vicarious  kick 
out  of  other  women's  experiences.  Her  eyes  are  eager,  interest- 
ed, and  her  active,  alert  brain  absorbs  everything  like  a  sponge. 
The  whys  and  the  wherefores  of  what  women  do  intrigue  her 
intensely. 

I  suppose,  later,  we  reap  the  benefit  of  that  on  the  screen. 
She  is  the  best  listener — the  most  inspiring  listener — I  have 
ever    encountered.      It    doesn't  [  continued  on  page  104  ] 

39 


Mary  Pickford's  fivH  screen  appearance,  in  the  background  of 
''The  Lonely  Villa."  The  actress  at  the  phone  is  Marion 
Leonard,  then  a  leading  woman  in  Griffith's  Biogrdph  Slock 


And  here  is  Mary  Pickford's  first  real  part,  playing  opposite 

David  Miles  in  "The  Violin  Maker  of  Cremona,"  another 

old  Biograph  classic  of  the  primitive  days  of  1909 


Chapter  XVII 


WHEN  the  members  of  the  Film  Service  Association 
filed  into  their  assembly  room  at  the  Imperial  Hotel 
in  New  York  for  the  opening  of  their  convention  in 
January,  1909,  they  found  an  announcement  from 
the  newly  formed  Patents  Company  neatly  laid  in  each  chair. 
The  Film  Service  Association  was  made  up  of  the  exchange 
men  who  bought  films  from  the  makers  and  rented  them  out 
to  the  theaters.  This  new  combination  of  the  film  makers  in 
the  Patents  Company  meant  some  kind  of  a  new  deal. 

Last  month  we  told  of  the  formation  of  the  Patents  Company 
as  the  end  of  the  long  battle  between  Edison  and  Biograph 
over  the  basic  inventions  of  the  motion  picture,  a  development 
that  came  just  as  the  Film  Service  Association  was  evolved 
out  of  the  common  interests  of  the  exchanges.  When  the 
week  of  January  9,  1909,  came,  the  motion  picture  industry  for 
the  first  time  in  its  existence  was  fully  organized. 

It  was  a  tense  and  vital  moment  These  exchange  men 
were  now  on  the  high  road  to  millions.  Haberdashers,  cloth 
spongers,  book  makers,  cowpunchers,  loan  sharks  and  carnival 
followers  were  taking  their  first  glimpse  of  a  real  prosperity 
and  more  money  than  they  had  expected  to  see  in  all  the  world. 
Things  might  have  been  a  bit  complicated  and  speculative 
under  the  old  catch-as-catch-can  regime  but  they  were  pros- 
pering anyway.  Now  came  a  new  order.  They  feared  it. 
For  the  first  few  minutes  of  the  convention  there  was  only 


The  Film  Business 

The  Romantic 

History 
of  the  Motion 

Picture 

By  Terry  Ramsaye 


In  this  chapter  read  how — 

Anita  Loos  sold  her  first  scenario  to  Biograph 
and  it   became  one  of  the  first   pictures  in 
which  Lionel  Barrymore  appeared. 
Marion  Leonard  upset  all   filmland  prece- 
dent by  asking  Griffith  for  a  salary  of  a  hun- 
dred dollars  a  week  and  compromised  at  the 
"record  figure  of  seventy-five. 
Colonel  Selig,  with  an  actor  made  up  as 
Theodore    Roosevelt,    made    "Hunting    Big 
Game  in  Africa"   in   a   Chicago  studio  and 
started  the  animal  picture  vogue. 
Pat   Powers,   a    talking   machine   magnate, 
broke    into    the    business    with    an    "Inde- 
pendent" studio  and  took  a  hand  in  the  fight 
on  the  Patents  Company. 
Bill  Swanson  declared  himself  in  on  a  party 
so    that    he    could    overhear    secrets    of   the 
"Trust,"  and  stayed  until  they  put  him  to 
bed  at  a  club. 

The  "Imp'-'  Company  started  with  Gladys 
Hulette  playing  in  "Hiawatha"  under  the 
direction  of  William  V.  Ranous — the  be- 
ginning of  Universal  today. 
Mark.  Dintenfass  hid  his  infringing  inde- 
pendent picture  making  operations  by  secretly 
working  in  one  of  the  Patents  Company's 
own  studios. 

Annette  Kellerman  made  her  first  screen 
appearance  in  a  Vitagraph  feature  over  half 
a  reel  long. 

Cecile  Spooner,  a  star  of  stock  company 
fame,  got  her  name  mentioned  in  the  adver- 
tising of  a  picture,  breaking  all  Edison 
precedents. 


M) 


Copyriiht,  1923, by  Terry  Ramaayo 


Battles  that  Made  the  Stars 


THIS  chapter  eets  forth  for  the  first  time  the  beginning 
of  the  struggles  of  the  "independents"  in  their  battles 
against  the  dominance  of  the  Motion  Picture  Patents 
Company,  the  war  out  of  which  the  star  era  of  today  was 
born.  In  1909  players  were  nameless  puppets  of  the 
screen.  Under  Patents  Company  rule  the  public  would 
have  never  heard  of  Mary  Pickford  or  her  director,  D.  W. 
Griffith.  Here  we  read  of  the  origin  of  the  unrecognized 
forces  that  made  them  world  famous. 

Here,  too,  are  many  of  the  secrets  of  those  embattled 
days  of  fourteen  years  ago,  revealed  now  for  the  first  time. 
Obscure  facts  that  have  exerted  a  controlling  influence 
on  the  making  of  the  motion  picture  as  it  is  now  are 
brought  to  light  in  their  real  relation  to  the  complicated 
affairs  and  astonishing  romances  of  the  rise  of  the  screen. 
There  can  be  no  understanding  of  the  institution  of  the 
motion  picture  of  1923  without  a  knowledge  of  these 
remote  beginnings  and  the  always  interesting  and  some- 
times whimsically  peculiar  personalities  who  made  the 
history  of  1909. 

Last  month  we  told  the  story  of  Mary  Pickford 's 
beginnings  on  the  screen.  Next  month's  installment  will 
tell  of  the  fast  moving  affairs  of  the  "independents," 
Imp's  flight  to  Cuba,  and  the  birth  of  natural  color  pic- 
tures. 

James  R.  Qutek,  Editor. 


When  Roosevelt  went  on  his  African  hunt,  Colonel  Selig  staged  the  Colonel's  adventures 
in  his  Chicago  studio,  with  Otis  Turner  directing  and  Tom  Persons  at  the  camera 


the  rustling  of  papers  as  the  exchange  men  read  the  portentous 
document  from  the  Patents  Company,  and  reading  was  a 
tediously  slow  art  with  many  of  them. 

.  Observers  for  the  Patents  Company  were  judiciously  spread 
about  to  gather  the  comment  that  might  arise.  Jeremiah  J. 
Kennedy  of  Biograph  and  the  Patents  Company  started  his 
espionage  system  with  the  beginning.  Keeping  informed  of 
what  the  other  fellow  said  and  thought  was  the  basis  of  Ken- 
nedy's strategy. 

Frank  N.  Dyer  of  the  Edison  Company  addressed  the  gather- 
ing and  explained  in  more  detail  the  plans  of  the  Patents 
Company,  placing  emphasis  on  the  vast  benefits  that  would 
accrue  from  the  elimination  of  litigation  over  patents,  and 


Lionel  Barrymore  when  he  came 
home  from  art  school  in  Paris  in 
1909  and  Griffith  cast  him  for  a 
■part  in  "  The  New  York  Hat"  a 
scenario  from  Anita  Loos,  a  Cal- 
ifornia school  girl 


saying  much  less  about  the  iron 
handed  control  that  the  new  concern 
would  exercise  over  the  business  in 
general  and  the  exchanges  in  partic- 
ular. Stenographic  records  of  the 
session  do  not  seem  to  have  included 
any  parentheses  enclosing  (laughter) 
or  (applause). 

In  brief  the  Patents  Company  pro- 
posed to  license  exchanges  to  deal  in 
the  film  to  be  made  by  the  licensed 
studios,  which  film  was  to  be  rented 
only  to  theaters  using  licensed  pro- 
jection machines.  Various  rules  and 
fees  were  provided,  including  a 
charge  of  two  dollars  a  week  for  each 
projection  machine.  No  unlicensed 
;»lm  could  be  handled  and  no  licenseu 
film  could  be  served  to  any  but 
•  licensed  theaters.  It  was  all  a  neat 
package  from  studio  to  exchange  to 
theater.  Everybody  had  to  have  a 
license  but  the  patron  and  he  paid  at  the  box  office. 

The  Film  Service  Association  solemnly  acknowledged  the 
arrangement.  Meanwhile  there  were  a  good  many  whispered 
conferences  about  the  Imperial  and  in  secluded  corners  of  the 
busy  bars  of  Broadway. 

The  majority  were  sure  that  the  Patents  Company  had  the 
best  of  the  situation  and  that  they  would  have  to  let  it  go  at 
that.  If  Bill  Swanson  and  Carl  Laemmle  had  been  so  minded 
the  rest  of  this  story  would  be  considerably  different. 

Swanson  was  on  the  warpath.  It  was  near  midnight  when 
George  Kleine,  George  K.  Spoor  and  Colonel  W.  N.  Selig 
strolled  into  Jack's  restaurant  in  Sixth  avenue  for  a  snack  of 
supper. 


hi 


When  the  Greatest 
Raised  to 


Dorothy  Bernard  and  Edwin  August  as  they 
appeared  in  "The  Failure,"  a  one  reel 
classic  from  old  Biograph's  album  of  mem- 
ories of  the  golden  days  of  the  Patents 
Company  period 


At  a  table  not  far  away  sat  Swanson 
and  a  group  of  secretly  dissenting  ex- 
changemen.  Swanson  arose  and  saun- 
tered over  to  the  table  occupied  by  the 
three  Chicago  producers — a  Patents 
Company  trio.  Swanson's  manner  was 
ultra  jovial  and  carefree,  but  the  conver- 
sation did  not  flow  so  well  after  he  ar- 
rived. There  was  a  notion  that  he  came 
in  with  long  ears. 

Presently  the  three  film  makers  arose 
and  started  out.  Swanson  followed  with 
them  and  he  was  still  with  them  when 
they  tried  to  excuse  themselves  for  the 
night  and  turned  into  the  Republican 
Club  in  Fortieth  Street. 

Swanson  insisted  on  conversation  and 
entertainment.  In  despair  the  Chicago 
group  sat  down  and  chatted.  There 
were  drink  orders  now  and  then,  with 
George  Klcine  insisting  on  plain  Apol- 
linaris.  It  was  three  o'clock  in  the 
morning  when  they  gently  put  Swanson 
to  bed  in  a  room  down  the  hall.  They 
were  reasonably  satisfied  that  when 
Swanson  awoke  the  next  day  he  would 
have  nothing  but  a  headache  for  his 
pains  and  nothing  to  remember. 

It  was  about  three  thirty  when  Swan- 
son tiptoed  most  soberly  down  the  hall 
with  a  steady  step  and  a  determined  air. 
He  had  made  up  his  mind  about  what  to 
expect  of  the  Patents  Company.     By 

noon  he  had  collected  a  list  of  twenty-eight  exchange  men  who 
pledged  themselves  to  oppose  the  combine's  terms  and  licenses. 

Four  years  later  the  story  of  Swanson's  spying  came  out  on 
the  witness  stand  in  the  case  of  the  United  States  vs.  The 
Motion  Picture  Patents  Company.  The  accounts  given  by 
Swanson  testifying  for  the  government  and  Spoor  testifying  for 
the  defense  differed  markedly  as  to  what  was  said  across  the 
table  at  Jack's  and  up  in  the  room  at  the  Republican  club.  The 
only  point  of  agreement  was  that  George  Kleine  would  drink 
nothing  but  Apollinaris  water  because  a  friend  of  his  was  the 
agent.  A  considerable  point  was  made  of  the  statement  that 
Swanson  did  not  confine  himself  to  water. 


The  insurrection  had  begun. 
March  20, 1909,  Swanson  announced  to  the 
trade    that    he    had    gone    "independent," 
scorning  the  products  and  work  of  the  trust. 
April  12  Carl  Laemmle  burst  forth  with  an 
announcement,  "I    have   quit   the    Patents 
Company,"  in  bold  face  type,  and  followed  it 
up  the  next  week  with  the  announcement, 
"I  am  as  happy  as  a  Sunflower."    Laemmle 
started  a  war  of  ridicule  and  cartoons  against 
the  Patents  Company.     His  advertisement 
of  May  1  opened  with,  "Good  Morrow — 
have  you  paid  $2  license  to  pick  your  teeth?" 
This  was  a  jibe  at  the  two  dollars  a  week  per 
projection  machine  license.    Laemmle  under 
the  guiding  hand  of   Cochrane  was  placing 
the  most  effective  and  strik- 
adyertising   that  graced 
journals.    It  had  a 
dlop.  Every  time  one 
these  advertisements 
the  eye  of  J.  J.  Ken- 
nedy down  at  the  Pat- 
ents Company  at 
85  Fifth  avenue, 
he   grinned    and 
then  bit  the  end 
off  his   cigar. 
There  was  going 
to  be  a   merry 
battle   with   this 
fresh  Laemmle 
person. 

Meanwhile  the 
Patents  Com- 
pany looked 
about  for  the  op- 
portunity  to 
make  a  few  fine 
examples  of  the 
new  discipline. 
Obviously  the 
best  way  to  ham- 
mer these  up- 
start exchange- 
men  into  subjec- 
tion was  to  make 
it  impossible  for 
them  to  get  any 
film. 

Over     at 
Eleventh  Avenue 
and   53rd   street 
the  Actophone 
Company,  an  in- 
dependent mo- 
tion picture  con- 
cern, had  started 
into  business  in 
an  awkward,  un- 
certain   sort    of 
way. 
Such  an  invasion  of  the  field  that  the  Patents  Company  had 
just  fenced  off  for  itself  was  not  to  be  tolerated  an  instant. 
The  presumptuousness  of  this  concern  starting  right  up  in  the 
face  of  their  newly  declared  authority  was  an  exasperation  and 
a  challenge  to  the  heads  of  the  combine.    This  must  be  crushed 
out  at  once.     Investigators  were  assigned   forthwith  to  get 
information  upon  which  an  injunction  would  be  sought  to  shut 
the  Actophone  Company  down.    It  was  to  be  spectacular  and 
sadden,  an  example  to  the  trade. 

Gumshoe  McCoy,  the  Edison  investigator,  went  on  the  trail. 

The  first  thing  that  was  discovered  was  that  William  Rising, 

who  had  been  trained  in  the  making  of  motion  pictures  at  the 


Edwin  August  Phillip  von  der  Butz,  who  was  world  famous  under 

half  a  dozen  names  in  the  days  before  the  picture  producers  had 

learned  the  value  of  playing  up  screen  personalities 


Star  in  Pictures  was 
$75  a  Wee\ 


Edison  studios  by  Edwin  S.  Porter,  was  the 
Actophone's  director. 

So  this  daring  "independent"  had  had  the 
consummate  nerve  to  raid  the  studios  of  the 
very  inventor  of  motion  pictures  himself! 

This  did  call  for  action. 

Behind  the  Actophone  Company's  begin- 
ning was  a  typically  adventurous  business 
career.    Back  in  1903  Mark  M.  Dintenfass,  a 
blithe  young  salesman  of  salt  herring,  fell  out 
with  his  father,  a  Philadelphia  importer  and 
jobber  of  fish,  and  quit  the  business.    Young 
Dintenfass  had  been  a  deal  of  a  traveler,  with 
his  trips  to  Europe  and  the  ports  of  the  North 
Sea  buying  fish,  and  his  journeys  over  the 
United  States  selling  them  again.    He  was  of 
a   fitful  dispositio   ,   too   earnestly   fond  of 
change  and  excitement  to  spend 
his  life  in  the  salt  herring  business. 
Two  years  later  found  hii 
proprietor  of  "Fairyland," 
the  second  motion  picture 
house  in   Philadelphia,   an 
imposing  institution 
of  one  hundred  and 
thirty  seats. 

Dintenfass  was 
just  doing  well  with 
his  "  Fairyland" 
when  Harry  Davis 
of  Pittsburgh,  the 
father  of  the  nickel- 
odeon theater  in  the 
east,  came  in  next 
door  with  the 
"Family  Bijou"  and 
gave  competition 
with  two  changes  of 
film  a  week.  Seek- 
ing a  novelty  to 
meet  this  competi- 
tion Dintenfass 
went  to  New  York 
to  look  into  Camera- 
phone  pictures,  the 
new  talking  picture 
device  that  pre- 
sented Blanche 
Ring  and  Eva  Tan- 
guay  on  the  screen 
in  dances  to  accom- 
pany phonographic 
records  of  their  acts. 
The  Cameraphone 
ran  a  short  life  as  a 
novelty,  with  a 
career  of  trouble  due 
mostly  to  the  diffi- 
culty of  synchro- 
nizing the  phono- 
graph and  the  film, 
and  in  the  end  Din- 
tenfass found  him- 
self in  possession  of  the  remains  of  the  company.  Then  by  the 
transmutation  of  names  so  common  to  the  motion  picture,  when 
he  gathered  up  the  fragments  and  reorganized  to  make  ordinary 
motion  pictures,  he  substituted  Actophone  for  Cameraphone, 
despite  the  fact  that  the  "phone"  end  of  the  enterprise  had 
been  abandoned. 

The  Actophone  studios  became  the  germinating  nest  of  the 
independent  picture  enterprises  in  the  rise  of  the  exchangemen 
against  the  Patents  Company  control. 

Dintenfass  became  doubly  obnoxious  in  the  eyes  of  the 
Patents  Company,  which  laid  siege  to  his  studio,  seeking  the 
incriminating  fact  that  would  prove  him  an  infringer. 


Belligerent  P.  A.  Powers,  the  phonograph  magnate,  who  entered 
the  Him  field  with  the  rise  of  the  "Independents"  to  take  a  hand 
in  their  entertaining  war  against  the  "  Trust" 


Marion  Leonard  and  James  Kirk  wood 
in  a  scene  on  location  in  uildest 
Westchester  county  where  Griffith 
directed  them  in  "Comanche,  the 
Sioux,  "  a  thriller  of  fourteen  years  ago 


The  studio  doors  were  under  lock 
and  no  one  was  admitted  except  as 
he  passed  peep  hole  examination 
by  the  watchman.  Within,  a  great 
sheet  iron  safe  was  built  and  within 
this  the  camera  stood.  This  camera 
was  an  imported  Pathe,  purchased 
abroad  and  secretly  brought  into  the 
country  with  great  caution.  The 
camera  was  operated  through  a  port- 
hole in  the  iron  box  and  no  one  was 
permitted  to  see  it  except  the  pho- 
tographer, Harry  Ferrini,  a  technical 
expert  hired  away  from  the  Edison 
plant. 

When  it  was  necessary  to  move  the 
camera  closer  to  the  stage  the  whole 
iron  safe,  mounted  on  a  truck,  was 
wheeled  forward.  It  was  cumber- 
some and  awkward,  but  an  essential 
precaution  against  the  prying  eyes  of 
investigators.  Night  and  day  the 
studio  was  under  guard,  lest  Patents 
Company  detectives  should  break  in 
in  the  dark  hours  and  examine  the  in- 
fringing camera. 

Then  came  the  ill-fated  day  when 
Ferrini  took  the  camera  out  on  loca- 
tion to  make  an  exterior  scene.  Just 
at  the  corner  where  the  cameraman 
set  up  was  a  genial  stranger,  loafing 
about.  He  was  precisely  in  the  way 
of  the  scene  to  be  made. 

"  If  you'll  just  stand  over  at  one  side,  please,"  the  cameraman 
suggested. 

"Sure,"  replied  the  by-stander,  "what  are  you  doing  with 
that  contraption?" 

"Moving  pictures." 

"Awful  interesting,  never  saw  one  before,"  the  stranger  mur- 
mured.   "Can  I  stay  here  and  watch  you?" 

"Oh  sure!"    Ferrini  opened  up  his  camera  and  threaded  the 
film  through  the  mechanism  getting  ready  to  shoot  the  scene. 

The  stranger  hung  over  him,  asking  foolish  questions  about 
gear  wheels  and  things. 

But  this  stranger  was  Mr.  Gum-  [  continued  on  page  gg  ] 


43 


rPHE  Countess  Dombski  of  Poland  has  become  an  ordinary  citizeness  of  Holly- 
wood.  With  plucked  brows  and  a  pet  dog,  Pola  is  now  the  Bella  Donna — the  pretty 
lady.    Will  we  ever  see  again  the  bedeviling  Du  Barry  or  the  vivid,  seductive  Carmen  ? 


CLOSE-UPS 


SHADES  OF  HUMPTY!  Mr.  Griffith  ad- 
vertises his  "The  White  Rose"  as  "the 
story  of  a  fallen  man."  The  only  fallen 
man  I'd  ever  heard  of  was  Humpty  Dumpty. 
But  Ivor  Novello  is  no  such  egg.  He  looks  like 
the  guy  that  posed  for  the  Apollo  Belvedere. 
And  he  has  a  profile  that  pays  and  pays  and 
pays — photographically.  There  isn't  a  stretch 
of  scenery  south  of  the  Mason-Dixon  line  that 
it  wasn't  plastered  against.  Acting  with  the 
profile  is  no  easy  feat.  About  the  only  way  to 
express  emotion  is  by  turning  up  the  nose.  And 
there  didn't  seem  to  be  any  reason  for  that. 
Everything  was  sweet.  When  Mr.  Novello  got 
a  chance  to  face  the  congregation  from  the 
pulpit  of  the  church  he  was  quite  effective.  I 
cannot  predict  what  his  future  will  be  because 
when  the  advertisements  appeared  about  the 
fallen  man,  Ivor  fled  to  England.  It  probably 
will  take  all  the  king's  horses  and  all  the  king's 
men  to  drag  him  back  again. 


Our  Wandering  Gal  Returns:  Mae  Marsh  is 
back!  She  came  stumbling  back  through  the 
rain  and  the  night  without  a  wedding  ring,  or 
even  an  umbrella,  but  in  her  arms  a  bouncing 
Mellins  Food  product.  We  were  so  glad  to  see 
her  we  didn't  care  if  she  never  wore  a  ring, 
though  we  did  wish  she'd  remember  her 
rubbers  because  we  never  want  to  lose  our 
Mae  again.  Compared  with  her  most  other 
stars  are  merely  sing-song  girls  with  sing-song 
faces.  Mae's  plainness  is  one  reason  for  her 
greatness.  You  couldn't  help  but  feel  sorry 
for  a  face  like  hers.  It's  just  a  little  piece  of 
twisted  rag  when  she  cries.  Unhampered  by  a 
consciousness  of  beauty,  Mae  can  give  her 
entire  mind  to  acting,  whereas  the  stellar 
shebas  are  occupied  with  thoughts  of  camera 
angles  and  graceful  postures.  They  would  not 
dare  to  act  if  given  the  ability,  for  emotions  are 
not  pretty  and  tears  mess  up  the  makeup. 
Though  histrionically  punk,  such  stars  are 
financially  sound.  Thus  Katherine  Mac- 
Donald  retires  with  a  fortune,  and  Mary  Miles 
Minter  rates  as  a  millionaire.  Both  were  non- 
acting  stars.  Mae  Marsh  will  never  be  a  great 
star  financially.  She  hasn't  tVie  face  of  an 
angel  food  cake — nor  the  icing 

Also  the  Wandering  Boy:  Charles  Ray  also 
comes  back  after  erring  sadly  for  some  time. 
In  "The  Girl  I  Loved"  he  gives  the  most 
graphic  performance  I  ever  saw  from  a  starring 
star.  Only  once,  previously,  have  I  been  so 
moved  by  a  screen  actor — that  was  by  Charles 
Ray  in  "The  Coward."  I  doubt  whether 
women  can  appreciate  him  as  men  do.  He  is 
the  echo  of  male  youth  before  it  takes  flight 
from  the  world  behind  the  sophistication  of 
maturity.  When  the  girl  he  loves  tells  him  she 
loves  Willie  Brown  you  behold  the  most 
terrible  spectacle  on  earth — the  slow  breaking 
of  a  man's  heart.  Only  a  moment  before  you 
were  convulsed  by  his  social  attempts  at  a 
party.  In  addition  to  being  my  favorite  actor, 
Ray  is  also  my  favorite  dancer.  I'd  rather  see 
him  step  out  at  a  barn  dance  than  see  the 
Sheik  do  his  coochiest  tango. 


6?  LONG 

SHOTS 

By  Herbert  Howe 


Bill  Goes  Skeiking:  Bidding  farewell  to  the 
follies,  Will  Rogers  packed  up  his  lariat,  took  a 
fresh  stick  of  chewing  gum  and  set  out  for 
Hollywood  to  star  in  comedies  for  Hal  Roach. 
He  said  in  panting:  "I'm  going  out  to  the  coast 
to  make  pictures  again.  The  last  time  I  went 
out  there  I  went  to  take  Charlie  Chaplin's  place. 
This  time  I'm  going  out  for  Valentino." 

Do  Your  Own  Casting!  There  ought  to  be 
lively  bidding  for  the  screen  rights  to  F.  Scott 
Fitzgerald's  "  The  Vegetable."  Judging  by  the 
title  it  is  admirably  suited  to  any  one  of  a 
number  of  stars.  If  titled  "Vegetables"  it 
might  be  produced  with  an  all-star  cast  as  a 
picture  of  Hollywood  life,  like  "Souls  for 
Sale."  A  more  appropriate  title  for  that 
Hughes  picture  would  have  been  "When 
Cabbages  Are  Kings." 

Honesty  tlie  Best  Policy:  Though  I  have 
never  met  her,  I  must  confess  a  secret  admira- 
tion for  an  actress  who  bears  the  name  of 
Lotta  Cheek. 

Our  Most  Popular  Star:  An  unusuai  thing 
happened  at  the  Capitol  theater  in  New  York 
when  "The  Girl  I  Loved"  was  shown.  The 
spectators  applauded  Ray's  picture  as  it 
flashed  on  the  screen  at  the  introduction  of  the 


Our  Astral  Discovery 
of  the  Month 

The  New  Charmer  Exotic — 


MME.  JETTA   GOUDAL 

She  comes  from  Versailles, 
France,  the  home  of  queens 
and  sirens. 

In  "The  Bright  Shawl"  she 
is  a  seductive  Chinese  Lily, 
and  in  person  an  equally 
seductive  fleur  de  lis. 

VIVE  LA  FRANCE! 


film.  True,  they  had  just  applauded  the  King 
of  England  in  the  news  reel.  But  such  is  not 
unusual.  The  King  of  England  is  just  about 
the  most  popular  man  of  the  day  with  the 
American  public,  particularly  with  those  who 
get  their  stuff  from  Canada.  I  haven't  at- 
tended a  single  party  recently  at  which  a  toast 
was  not  offered  in  his  honor,  after  derogatory 
reference  to  our  own  Mr.  Volstead. 

A  Vote  for  Viola:  Henry  Ford  is  accused  of 
becoming  a  movie  magnate  in  order  to  further 
his  campaign  for  presidency.  When  Viola 
Dana  heard  about  Henry  going  into  the  movie 
business  she  came  right  back  at  him  by  going 
into  the  flivver  business,  buying  a  garage  in 
Hollywood.  Now  we'll  see  who's  going  to  be 
president! 


^r 


Film  Tests  for  Presidents:  All  candidates  for 
public  office  should  be  compelled  to  take  film 
tests,  because  most  of  an  official's  work  now- 
adays is  posing  for  news  reels.  Will  Rogers 
endorses  my  stand.  He  writes  that  he  will  pick 
out  a  couple  of  good  presidential  types  to  run 
on  the  republican  and  democratic  tickets. 
"I'm  bound  to  find  'em,"  says  Will;  "there  are 
all  sorts  of  types  in  Hollywood." 

Blame  the  Movies:  The  Chinese  bandits, 
who  captured  a  bunch  of  foreign  tourists,  say 
they  got  their  idea  of  derailing  the  train  from  a 
serial  motion  picture. 

A  sheik  out  in  the  Sahara  seized  Mrs.  Ernest 
Thompson  Seton,  wife  of  the  explorer,  and 
passionately  embraced  her.  He  doubtlessly 
had  been  seeing  Valentino. 

Sudden  Fame:  Margaret  Leahy,  a  little 
English  girl,  was  lifted  out  of  the  unknown  into 
sudden  fame  as  winner  of  a  London  beauty 
contest,  presided  over  by  Norma  and  Con- 
stance Talmadge.  The  Talmadges  brought 
her  to  this  country  in  a  veritable  triumph, 
heralding  her  as  a  "find,"  who  was  to  play  a 
big  part  in  "Within  the  Law."  Last  month 
little  Margaret  crept  back  to  England,  un- 
noticed. She  played  in  one  picture  with  Buster 
Keaton.    Such  is  the  tragedy  of  sudden  fame. 

Hoi  Tamale  Day  in  Hollywood:  Rex  Ingram 
happened  to  mention  that  he  wished  a  few 
Spanish  types  for  "Scaramouche."  The  next 
morning  Ramon  Novarro  burst  into  the  office 
beaming.  "I've  got  them,"  he  said.  "Got 
what?"  asked  Ingram,  and  the  next  minute 
was  nearly  bowled  over  by  the  onslaught  of 
several  hundred  healthy  young  Mexicans. 
Ramon  had  visited  the  Mexican  section  of  Los 
Angeles  and  rounded  up  all  his  countrymen  he 
could  find.  For  a  time  it  looked  as  though  the 
French  revolution  of  "Scaramouche"  might  be 
turned  into  the  war  of  the  Spanish  succession. 

16 


"Dick,"   said  Arline  seriously,    "would  you  mind 
marrying  me  right  now?     It  will  cancel  all  questions" 


46 


Celluloid 
Boulevard" 


A  story 

that 

gives  you  a 

new  slant  on 

heart  affairs  in 

Hollywood 


By 

Frank  R. 
Adams 


Illustrated  by 

Kenneth  F.  Camp 


Arline  was  smiling 
as  she  left  Dick 
Carver.  It  was  nice 
to  be  thought  worthy 
of  a  man's  nonsense 


JUST  as  Broadway  is  the  Highway  of  Hope  on  the  east 
coast  so  is  Hollywood  Boulevard  on  the  west.  One  thor- 
oughfare cuts  through  the  center  of  the  greatest  theatrical 
activity  in  the  world  and  the  other  bisects  practically  the 
entire  film  industry. 

Both  streets  are  excellently  paved.  So  is  the  Avenue  to 
Avernus,  we  are  told.  Both  are  lined  with  splendid  buildings, 
many  of  them  air  castles.  Sometimes  in  Hollywood  there  is  a 
real  castle,  as,  for  instance,  Douglas  Fairbanks'  set  for  Robin 
Hood,  still  standing,  which  looms  up  like  the  Singer  Building 
on  the  landscape  and  irks  the  California  realtors  much  because 
Doug  won't  allow  them  to  try  to  sell  it  for  a  winter  home  to 
some  sucker  tourist  from  Iowa  or  even  farther  east.  (They 
come  a  long  ways  now  to  be  trimmed  by  the  Los  Angeles  terra 
firma  vendors.  And  the  native  sons  are  skillful  at  it,  too; 
you  have  to  give  'em  credit — every  real  estate  salesman  knows 
how  to  handle  the  calf's  papa.) 

The  opening  up  of  Celluloid  Boulevard  as  a  Mecca  for 
temperament  and  self  discovered  genius  took  a  tremendous 
strain  off  from  New  York.  Before  that  Broadway  had  to 
absorb  and  tame  everybody  who  had  ambition  and  railroad 
fare.  Now  a  large  portion  of  the  inflamed  egos  do  a  Horace 
Greeley  in  the  other  direction.  There  must  be  a  great  con- 
tinental divide  for  talent  and  beauty  somewhere  about  Well- 
ville,  Kansas — Wellville,  where  they  still  use  out-of-door  plumb- 
less  plumbing  and  enjoy  many  other  rural  inconveniences. 
From  that  interoceanic  ridge  genius  must  flow  nowadays  in 
two  equal  torrents,  some  flows  east  and  some  flows  west  and 
some,  unquestionably — flows  "over  the  cuckoo's  nest." 

So  much  of  it  flows  west  that  Los  Angeles  has  more  pretty 
waitresses  than  any  other  city  in  the  world.     Handling  "ham 


and, ' '  hash  and  hamburger  is  the  ultimate  destination  of  many 
an  ambition  that  was  originally  pointed  westward  in  the  gen- 
eral direction  of  twinkling  stardom.  When  all  the  leading 
parts  are  taken,  when  the  casting  director  doesn't  need  any 
more  stars  or  ingenues  or  character  women  or  bits  or  even 
atmosphere,  what  are  you  going  to  do?  One  must  live  somehow. 

Celluloid  Boulevard,  like  its  older  and  wickeder  sister, 
Broadway,  runs  up-hill  all  the  way  no  matter  which  direction 
you  are  headed.  It's  hard  enough  going  for  those  who  have 
superlative  talents,  for  the  others  it's  a  grade  that  knocks  out 
many  an  engine  even  on  low  gear. 

Quite  naturally  in  a  struggle  that  is  so  intense  few  of  the 
competitors  have  much  time  to  pity  those  who  fall  by  the  way- 
side. If  they  slacken  speed  they  may  be  out  of  the  race 
themselves. 

Up  to  a  certain  point  the  story  of  Arline  De  Vino  was  prac- 
tically the  same  as  that  of  all  the  other  mid-western  winners 
of  beauty  contests  who  pack  up  their  belongings  and  the  family 
bank-roll  and  make  Cinderella  tracks  toward  the  land  of  the 
setting  sun. 

About  the  time  she  arrived  on  the  coast  the  censors  began 
getting  tough  about  the  one-piece  bathing  drapery  and  makers 
of  comedies  cut  out  the  pulchritude  display  or  else  Arline 
would  have  gone  through  the  Christie-Sennett  school  of  applied 
art.  She  was  pretty  enough  and  as  shapely  as  one  of  those 
tall  slender  glasses  we  used  to  drink  rare  wines  out  of  in  the 
days  before  Mr.  Whatshisname  popularized  the  jug  and  the 
coffee  cup. 

Yes,  Arline  was  pretty  and  sweet  enough  but  there  wasn't 
sufficient  kick  in  her  to  cause  her  to  have  any  enemies.  None 
of  the  other  aspirants  feared  her.     There  wasn't  a  chance  that 

47 


she  would  ever  be  mentioned  in  anybody's 
divorce  bill  or  that  Mr.  Hays  would  have  to  do 
anything  to  her  when  he  started  to  clean  up  the 
movies. 

Why  Arline,  in  spite  of  the  prop  name,  was 
just  as  sweet  as  your  sister. 

If  she  hadn't  been  ambitious  she  could  have 
been  the  belle  of  North  Platte,  Nebraska,  for  as 
many  seasons  as  she  chose  to  remain  unmarried. 

But  she  got  the  bug,  came  to  Cinemaville, 
learned  how  to  make-up  from  having  it  done  for 
her  when  she  was  an  extra  on  the  Richfield  lot 
during  a  society  sequence,  and  then  hung  around 
while  one  dull  season  after  another  blighted  the 
motion  picture  industry. 

There  were  two  reasons  why  she  did  not  go 
home.  One  of  them  was  that  all  of  her  family, 
save  her  father  who  had  staked  her,  considered 
her  just  the  same  as  eternally  damned  for  having 
chosen  what  was  to  them  practically  a  life  of 
shame  and  the  other  was  that  the  father,  above 
mentioned,  had  died  since  she  went  away. 
There  was  no  welcome  awaiting  her  from  her 
aunts  and  cousins — she  could  be  certain  of  that. 

Arline's  pride  became  a  negligible  thing.  She 
was  quite  willing  to  work  at  anything.  But  she 
was  a  little  too  good  looking  for  a  housemaid. 
At  least  that's  what  one  of  her  employers  told 
her  as  she  let  her  go  after  a  regrettable  incident 
with  the  head  of  the  house.  And  she  had  no 
commercial  education  that  would  avail  her  in  a 
stenographic  position.  Besides  Arline  lacked 
business  enterprise;  she  couldn't  force  herself  in 
and  make  a  place  for  her  talents  to  shine.  She 
was  born  to  be  the  other  half  of  a  dominant 
masculine  personality;  nothing  else;  her  nature 
was  all  sweet  yielding  and  generous  submergence 
of  self;  she  wasn't  modern  at  all.  You  can 
imagine  how  far  she  would  ever  get  on  her  own 
power  even  during  good  times  when  conditions 
were  ideal.  There  is  no  accounting  for  how  she 
came  to  follow  the  star  to  the  Wood  of  Holly 
except  that  apparently  no  one  is  immune  from 
the  contagion. 

Arline's  finish  had  been  in  sight  before  she 
started.  She  finally  arrived  at  that  conclusion 
herself  as  she  stood  on  the  pier  at  Venice  listen- 
ing to  the  music  of  the  orchestra  in  the  ballroom 
and  wondering  how  deep  the  water  was  and  if 
it  would  be  as  cold  as  it  looked  and  wishing  that 
she  had  the  nerve  to  try  starvation  a  little 
longer. 

II 


THE  electricians  and  one  of  the  assistant 
directors  of  the  Donald  Kilbane  Productions 
were  getting  ready  to  take  a  Coney  Island 
sequence  that  was  to  include  a  scene  or  two  on 
the  Ferris  Wheel,  a  flash  at  the  scenic  railway 
and  a  comedy  episode  with  the  man  who  guesses 
jour  weight.  They  never  build  Coney  Island 
sets  at  the  studios;  it's  too  easy  to  take  the 
company  to  the  Venice  pier  where  they  have  all 
the  amusement  park  apparatus  going  full  blast, 
set  up  a  few  portable  electric  generators  and  shoot  it  from  life, 
with  a  crowd  of  non-salaried  extras  made  up  of  the  regular 
patrons. 

While  the  staff  was  attending  to  the  preliminaries  Donald 
Kilbane  himself,  who  was  to  be  in  the  sequence,  and  his 
''heavy,"  who  was  also  his  best  friend,  walked  out  on  the  pier 
arm  in  arm  chatting  amiably,  although  in  half  an  hour  or  so 
Donald  would,  according  to  the  script,  be  obliged  to  punch 
Dick  Carver  forcibly  in  the  jaw  and  throw  him  out  of  a  car 
on  the  Ferris  Wheel. 

"You  ought  to  have  a  double  do  that  fall,"  Donald  was 
arguing.  "It  isn't  too  late  yet  to  get  a  'stunt  man'  about  your 
size  and — " 

Carver  interrupted  him  with  a  laugh.  "You  don't  get  any- 
body to  do  your  trick  stuff,  Don." 

"No,  but  I'm  used  to  it." 

"So  am  I  and  I'm  several  years  younger  than  you  are,  Don, 
although  I'll  admit  I  don't  look  it.     So  tie  a  can  to  the  idea. 


If  I  get  hurt  it's  my  own  fault.  The  picture  is  all  done  except 
this  sequence  and  if  I  should  sprain  my  little  finger  or  something 
it  won't  interfere  with  art  in  the  least.  Thanks  just  the  same 
for  being  so  considerate." 

Dick  Carver  was  not  a  man  of  as  fine  fibre  as  his  friend 
Donald  Kilbane.  Don  was  perhaps  the  highest  type  that  the 
stage  and  the  movies  have  yet  produced,  a  man  born  to  the' 
traditions  of  Booth  and  Barrett,  trained  in  the  old  school  of 
fine  acting  and  then  swept  over,  ideals  and  all,  to  the  new  art  i 
of  which  he  became  one  of  the  most  conspicuous  ornaments. 

Don  was  a  gentleman,  a  living  refutation  of  the  gossip  to 
the  effect  that  motion  picture  actors  are  impossible  people. 
An  ignoble  course  of  action  never  suggested  itself  to  Don  Kil- 
bane and  it  never  occurred  to  him  to  evade  his  responsibilities. 
No  wonder  his  friends,  and  they  included  everybody  in  the 
business  whether  they  knew  him  or  not,  idolized  him,  and  the 
public,  which  got  the  idea  some  way  without  its  ever  being 
mentioned  in  the  newspapers,  always  excepted  him  from  its 


48 


sweeping  charges  against  the 
characters  of  cinema  people. 
No,  Dick  was  not  so  fine  as 
Don.  He  was  more  mascu- 
line, stocky  where  Don  was 

lithe,  powerful  while  Don's  strength  was  swift  lightning,  his 
face  even  was  serious,  heavy,  and  Don's  was  a  semi-humorous 
sketch  of  a  man  who  was  afraid  he  might  think  well  of  himself. 
But  Dick  was  a  handsome  dog,  a  dark,  dangerous  man  such  as 
fortune  tellers  use  as  a  bugaboo.  He  was  a  villain  to  make 
ladies  shudder  while  they  secretly  wished  that  they  were  in  his 
clutches  themselves.  That's  the  sort  of  part  he  almost  always 
played  on  the  screen.  On  the  street  he  was  a  golf-dub  and  a 
tongue-tied  conversationalist,  except  with  men.  And  Don 
Kilbane  liked  him  better  than  anyone  he  knew,  which  was  all 
the  recommendation  Dick  should  need  from  anybody. 
'  "We'd  better  turn  back,  I  suppose,"  Don  decided.  "They 
must  be  nearly  ready." 


Finally  Don  decided  to  abandon  the  car  and  take  to  snowshoes. 

"You  can  come  along,  or  stay  ivith  the  car,  if  you  like,"  he  told 

Larry.     "I'll   come   with   you,"    Larry   decided.     His   boss   was 

already  several  hundred  feet  ahead 


Dick  was  not  paying  at- 
tention.    He  was  watching 
something  and  Don  looked 
in  the  same  direction  to  see 
what  it  was. 
It  was"only  a  girl  standing  by  the  pier  railing. 
"What's    the    idea?"    Don    demanded.     "Business    before 
pleasure,  you  know,  young  fellow." 

"Hush!  This  dame  started  to  climb  over  the  railing  and 
then  didn't  when  she  saw  that  couple  just  walking  by  her  now. 
I  think  we  ought  to  watch  her  a  minute.  We're  in  the  shadow, 
here,  where  she  can't  see  us." 

Don  acquiesced.  The  interrupting  couple  passed  on,  heed- 
lessly, toward  the  dance  pavilion.  The  girl  at  the  railing 
watched  them  out  of  sight  and  then,  with  almost  incredible 
speed,  flopped  over  the  rail  and  down  to  the  water  below  before 
Don  and  Dick  could  utter  the  exclamations  of  protest  which 
were  on  their  lips  as  they  ran  up        [  continued  on  page  no  J 

49 


A  Parisian 

Chinese 
Lily 

By 
Herbert  Howe 


Jetta  Goudal  is  a  personification  of  Hergesheimer's  Chinese  W 
was  born  near  Versailles,  France,  and  she  has  a  strange  beauty 

Slavic,  cast 


A  FRENCH  actress  of  luring  accent,  carmined  lips 
flashing  from  a  face  of  saffron  pallor,  oblique  eyes 
that  reflect  the  amber  light  of  pendant  earrings,  a 
slim  silhouette  of  fluid  grace  about  whom  hovers 
a  secret  perfume  compounded  by  herself — Jetta  Goudal  is  the 
Chinese  Lily  of  "The  Bright  Shawl"  with  Parisian  modifica- 
tions. A  siren  fashioned  delicately  for  rooms  of  peacock  silks 
and  fretted  alabaster.     And  yet — 

She  lives  at  the  Martha  Washington  hotel,  from  which  men 
are  barred,  believes  devoutly  in  the  spirit  of  prohibition,  and 
looks  with  cold  disdain  upon  the  flirtations  of  this  promiscuous 
flapper  age. 

Nothing  whatever  was  known  of  her  when  she  triumphed 
over  the  screen  in  her  first  part — that  of  Pilar  de  Lima  in  "The 
Bright  Shawl." 

She  is  in  fact  what  our  other  sirens  are  in  fiction — a  lady  of 
mystery. 

"I  came  to  America  because  I  thought  I  might  as  well  be 
miserable  here  as  any  place,"  she  said  with  her  slow,  coloring 

50 


accent.      "It    was    during    the 
war.  ..." 

Her  voice  paused  on  the  note 
of  tragedy — personal  tragedy 
doubtlessly — and  did  not  con- 
tinue. There  is  about  her  a 
curious  remoteness,  an  inscru- 
table charm.  Her  revelations  are 
as  the  lifting  of  delicate  veils  be- 
hind which  there  are  many  other 
veils. 

She  is  a  perfect  visualization 
of  Hergesheimer's  Pilar  —  that 
water  lily  bloom,  so  densely  pale, 
whose  lips  of  artificial  carmine 
were  like  the  applied  petals  of  a 
geranium. 

Yet  she  is  not  a  Chinese  lily, 
but  a  fleur  de  lis,  born  near  the 
palace  of  those  most  exquisite 
charmers,  Du  Barry,  Maintenon 
and  Pompadour,  at  Versailles  in 
France. 

With  the  candor  and  charm  of 
the  French  she  has  a  strange 
beauty  of  Oriental  cast.  She 
might  be  Slavic.  There  is  a 
marked  resemblance  to  Nazim- 
ova  in  her  smile  and  the  inflec- 
tions of  her  voice.  She  speaks 
with  delicate  gestures  of  her 
hands.  Her  fingers  are  long  and 
slim  with  polished  pointed  nails. 
It  would  seem  that  anyone 
with  a  personality  of  such  fas- 
cination and  talents  so  thor- 
oughly schooled  would  find  easy 
access  to  the  screen,  and  yet  she 
says,  "  You  must  put  your  pride 
in  the  safety  deposit  when  you  go  for  work  at  the  studios." 

When  she  saw  herself  in  "The  Bright  Shawl" — in  her  first 
screen  part — she  was  disheartened. 

"So  many  scenes  were  missing — I  was  all  cut  away,"  she  said 
plaintively.  When  the  critics  acclaimed  her,  she  was  as- 
tonished. 

"I  went  to  see  the  picture  again,  thinking  perhaps  they  had 
put  back  my  scenes.  Mais  non."  She  shook  her  head  mysti- 
fied. "I  still  do  not  understand — there  was  so  little  of  me!" 
Jetta  Goudal  unquestionably  will  take  her  place  on  the  pea- 
cock dais  along  with  Sirens  Na'ldi,  Swanson  and  La  Marr.  She 
is  distinctly  a  charmer  of  men,  though  she  does  fly  from  them 
to  the  protecting  arms  of  "the  so  dear  Martha." 

She  likes  American  men.  Ah,  oid.  "  But  I  like  better  them 
among  men,"  she  smiles  subtly.  "Yet  they  must  not  be 
judged  by  their  attitude  toward  a  French  actress — a  so  wicked 
French  actress." 

And,  I  might  add,  a  French  enigma — one  who  looks  like 
a  siren  and  lives  like  a  nun.  - 


aler  Lily  and  yet  she 
of  Oriental,  well  nigh 


And  A 

Cockney 
Beauty 

By 
Jameson  Sewell 


DISCOVERED  by  Mar- 
shall Neilan  and  given 
her  first  real  opportu- 
nity by  Edwin  Carewe. 
This,  after  appearing  in  motion 
pictures  in  England  and  France. 

At  ten  a  teacher  of  dancing  in 
her  father's  academy  in  Hull, 
England.  At  sixteen  dancing  in 
Paris  and  London.  At  seven- 
teen leading  two  numbers  in  the 
Ziegfeld  Midnight  Frolic. 

Something  of  a  record  —  and 
actually  an  outline  of  Dorothy 
Mackaill's  career. 

Miss  Mackaill  is  a  curious 
mingling  of  Cockney  and  Ameri- 
canism. She  was  born  in  Hull. 
How  she  made  the  leap  to  one  of 
the  pulchritudinous  chosen  few 
of  the  Ziegfeld  Midnight  Frolic 
forms  an  interesting  tale. 

Her  father  maintained  a  dance 
academy  in  Hull  and  there  the 
daughter  studied  until  she  her- 
self had  a  class.  Even  as  a 
youngster  her  personality  stood 
out  and  visitors  suggested  that 
she  try  London  and  the  stage. 

So  she  went  to  London  and  for 
a  time  appeared  at  the  Hippo- 
drome in  "Joybelles."  Then  she 
ventured  to  Paris  and  danced 
there  in  a  revue.    Before  this  last 

adventure,  however,  she  had  tried  a  single  English  motion  pic- 
ture. "I  went  to  see  it  afterwards  and,  when  I  couldn't  find 
myself,  I  thought  something  had  been  left  out.  So  I  sat 
through  it  again — but  I  was  still  missing.  That  nearly  broke 
my  heart."  In  Paris  Miss  Mackaill  appeared  in  a  few  Pathe 
comedies.  "This  was  lots  of  fun,"  she  explains,  "for  they 
never  understood  me  and  I  never  knew  quite  what  they  wanted 
me  to  do. 

"Some  of  the  girls  from  my  revue  were  coming  to  America — 
and  so  I  decided  to  try  my  luck,  too.  Over  here,  I  was  in  a 
maze.  I  picked  up  a  newspaper,  read  Flo  Ziegfeld's  name  and 
guilelessly  went  around  to  see  him.  Then  I  didn't  realize  how 
difficult  it  is  to  see  a  manager  in  America.  At  his  outer  office 
I  announced  myself  as  Dorothy  Mackaill  of  London  and  pushed 
by  the  astonished  office-boy.  Mr.  Ziegfeld  looked  up  as  I 
burst  in.  'You  don't  know  me,'  I  announced,  'but  I  want  to 
work  in  your  midnight  show.  Will  I  do?'  Mr.  Ziegfeld 
laughed.  'You'll  do,'  he  chuckled  and  gave  me  a  note  to  the 
manager.     I  didn't  realize  my  luck  for  weeks. 

"It  was  Marshall  Neilan  who  'discovered'  me  over  here. 
While  I  was  dancing  with  the  Frolic  he  gave  me  the  role  of  the 
deaf  barber's  faithless  wife  in  '  Bits  of  Life.'     Remember  that?  " 

After  which  came  some  Torchy  comedies,  Charles  Giblyn's 
"A  Woman's  Woman,"  "The  Isle  of  Doubt,"  "The  Streets  of 


Dorothy  Mackaill  is  a  curious  mingling  of  Cockney  and  Americanism.     She  was 

born  in  Hull,  England,  and  yet  she  stepped  to  motion  pictures  via  Flo  Ziegfeld's 

famous  Midnight  Frolic 


New  York,"  and  Edwin  Carewe's  "Mighty  Lak'  a  Rose." 
Then  John  Robertson  selected  her  for  the  chief  feminine  role 
of  Dick  Barthelmess'  new  vehicle,  "The  Fighting  Blade." 

Robertson  says  she's  the  most  promising  young  actress  he's 
observed  in  several  years.  "  She  has  a  fine  sensitiveness  and  a 
superb  sense  of  humor,"  he  says.  "  What  more  could  you  ask?  " 

Oh  yes,  and  she  has  beauty,  too.     Better  still,  distinction. 

She's  slim,  blonde  and  of  a  witching  boyishness.  In  "The 
Fighting  Blade"  she  wears  boy's  disguise  in  most  of  her 
scenes  and  handles  a  sword  like  a  cavalier. 

But  it's  her  vividness  and  verve  that  count. 

That  connoisseur  of  beauty,  Flo  Ziegfeld,  said  to  her: 

"A  girl  who  can  think  as  fast  as  you  do  ought  to  be  a  good 
leader.  If  your  feet  work  as  fast  as  your  brain  you  should  be 
nimble." 

Nimble  is  le  mot  juste  for  Dorothy.  She  moves  swiftly  and 
surely.  Already  she  has  appeared  on  the  stage  of  three 
countries — France,  England  and  America — and  it  will  not  be 
long,  I  predict,  before  she  will  be  featured  on  every  screen. 

Followingherappearance  in  "  Mighty  Lak'  A  Rose, "  hersalary 
skipped  up  several  hundred,  and  now  offers  are  arriving  from 
everywhere. 

So  Dorothy  has  little  to  worry  about  in  her  apartment  over- 
looking Central  Park,  which  she  shares  with  Mama  Mackaill. 

51 


The 

Press  Agent 

"who  is  paid 
$IOOO 

a  week 

By  Glendon  Allvine 


While  handling  D.  W. 
Griffith's  production, 
Reichenbach  succeeded 
in  having  the  names  of 
Michigan  Boulevard  in 
Chicago  and  43rd  Street 
in  New  York  changed  to 
"Dream  Street" 


A 


PRESS  agent 
who  makes  a 
star's  salary 
— that's  the 
way  Harry  Reichen- 
bach is  denominated. 

He's  the  star  of  pub- 
licity men.  His  salary 
is  $1,000.00  a  week.  He 
isn't  hired  —  he  is  re- 
tained like  a  crack  cor- 
poration lawyer. 

He  is  great  in  his  pro- 
fession because  he  spe- 
cializes in  imagination, 
because  to  him  nothing 
is  impossible  of  accom- 
plishment, because  he 
believes  in  himself. 

Big  film  magnates 
give  him  contracts 
reading;  "for  exploit- 
ing, publicizing,  and  at- 
tracting attention,  and 
for  creating  sensational 
manifestations"  for  their  pictures.      They  find  that  it  pays. 

One  of  the  most  "sensational  manifestations"  was  in  con- 
nection with  the  exploitation  of  "Tarzan,"  the  jungle  picture. 
Reichenbach  installed  a  lion  in  a  hotel  room  engaged  by  a  man 
registered  as  "T.  R.  Zann."  The  guest  had  represented  him- 
self to  be  a  musician,  and  had  asked  that  his  piano,  boxed,  be 
hoisted  through  the  window  to  his  room.  The  next  morning 
after  the  installation  of  the  piano  box,  the  hotel  clerk  was 
astounded  by  a  breakfast  order  for  ten  pounds  of  raw  steak. 

"Ten  pounds  of  raw  steak!"  gasped  the  clerk,  suspecting  the 
gentleman  of  lunacy. 

"  Yes,"  came  the  reply  over  the  telephone.  "  My  lion  is  very 
hungry." 

A  house  detective  and  a  policeman  investigated,  and  dis- 
covered a  lion  leaping  playfully  from  bed  to  dresser  in  the  room. 
Although  the  city  editors  regarded  the  affair  with  suspicion, 
they  couldn't  ignore  it.    It  was  too  good  a  story.     The  stunt 

52 


Harry  Reichenbach  specializes  in 
ceives  a  star's  salary 


While  exploiting  "  Tarzan," 
Reichenbach' s  assistant  regis- 
tered at  a  hotel  in  New  York 
as  "T.  R.  Zann," and  smuggled 
in  a  lion  in  a  piano  box.  Th  us 
landed  a  big  newspaper  story 

earned  thousands  of  columns  of 
space  in  American  newspapers. 

Perhaps  you  recall  the  sensation 
caused  by  the  arrival  of  a  royal 
Turkish  delegation  in  quest  of  a 
lady  escaped  from  the  sultan's 
harem.  Eight  stalwart  Turks  reg- 
istered at  a  New  York  hotel  and 
explained  through  an  interpreter 
that  the  Sultan  had  sent  them  to 
comb  America  for  the  prize  of  his 
harem.  Detectives  were  engaged 
to  assist  in  the  search.  It  was  a 
colorful  story,  and  editors  printed 
hundreds  of  columns  about  it. 
Eventually  the  fair  one  was  found 
washing  dishes  in  an  East  Side 
restaurant,  and  the  Turks  an- 
nounced that  the  virgin  of  Stam- 
boul  had  been  recovered.  Simul- 
taneously Carl  Laemmle  an- 
nounced the  showing  of  "The 
Virgin  of  Stamboul,"  his  motion 
picture  starring  Priscilla  Dean! 

The  Turk  story  would  have  at- 
tracted even  wider  attention  but 
for  the  skepticism  of  The  New 
York  Tribune.  One  of  its  reporters  observed  a  Turk  stopping 
to  adjust  a  Paris  garter.  This  didn't  look  right  to  the  gentle- 
man of  the  press,  so  he  telephoned  to  Mr.  Morgenthau,  our 
former  ambassador  to  Turkey,  with  whom  the  delegation  was 
scheduled  to  lunch.  The  ambassador  knew  nothing  of  the 
party  or  its  mission,  and  so  The  Tribune  kidded  the  story. 
Despite  this  exposure,  the  stunt  awakened  great  curiosity. 

Universal  re-engaged  Reichenbach  for  a  campaign  to  adver- 
tise "Shipwrecked  Among  Cannibals,"  agreeing  to  pay  him 
$1,000.00  a  week,  with  the  contract  stipulation  that  "no  con- 
crete plan  of  exploitation  can  be  given  here  for  this  is  largely 
a  matter  of  inspiration  and  opportunity,  but  it  is  understood 
that  Universal  is  engaging  me  upon  the  belief  that  unusual 
ideas  and  startling,  sensational  manifestations  will  be  exercised 
to  put  the  film  over." 

Reichenbach  exploited  William  Fox's  "Over  The  Hill"  and 
"The    Connecticut   Yankee"   on         [ continued  on  page  i i 7  I 


imagination 
in  return 


-and  re- 


Off  for  a  Roman  Honeymoon! 


MR.  and  Mrs.  Jack  Dougherty  photographed  on  the  Univer- 
sal lot  as  they  hurried  back  to  work  after  the  wedding. 
Barbara  La  Marr  thought  all  romance  was  over  for  her — 
then  she  met  the  big,  two-fisted,  red-haired  Irishman,  Jack 
Dougherty,  who  stars  in  two-reel  comedies  for  Universal.    Now 


she's  Mrs.  Jack,  honeymooning  in  Rome,  where  she  and  her 
husband  are  playing  in  "The  Eternal  City"  under  the  direction 
of  Fitzmaurice.  Upon  their  return  they  will  both  work  on  the 
Universal  lot,  Mr.  Dougherty  in  his  comedy  series  and  Miss  La 
Marr  in  a  hlmscription  of  the  novel,  "Damned." 

53 


jAme;     lUonRiOiiiEey    ^laCC- 


Joy  struck  out  blindly,  savagely,  pressing 
her  bare  arms  against  his  throat,  forcing 
herself  backward,  away  from  him,  until 
she  felt  his  embrace  relax,  found  herself 
suddenly  free 


The  greatest  mystery  story 

of  the  screen 

is  approaching  its  climax 


54 


The  Triangle 


Arthur  Lloyd,  the  young  actor 
who  loves  Joy  Moran — loves 
her  with  all  his  selfish,  vain 
and  jealous  heart.  Joy  has 
been  throivn  with  Lloyd  in  the 
ivorld  of  the  theater  but  she  can 
not  bring  herself  to  care  for 
him.  And  yet  he  holds  the  key 
to  the  fate  of  the  man  she  loves, 
Jean  Romain,  screen  star  on 
the  same  lot  with  Joy 


By  Frederic  Arnold  Kumtner 


Jean  Romain,  the  motion  pic- 
ture star,  is  under  suspicion 
following  the  mysterious  death 
of  his  wife.  Handsome  and 
dashing,  Romain  is  the  per- 
sonification of  Joy  Moran's 
ideal.  And  yet  she  is  paid  to 
spy  upon  him — and  wreck  his 
brilliant  career  if  needs  be. 
Joy  has  come  to  love  him  deep- 
ly— but  what  shall  she  do? 


Illustrated  by 

James   Montgomery  Flagg 


The  Studio  Secret 


That  which  has  gone  before: 

WHEN  Joy  Moran  was  almost  magically  transported  to 
Hollywood — to  take  a  leading  part  in  a  great  picture  and, 
incidentally,  to  spy  upon  the  star,  Jean  Romain — it  seemed  as  if 
her  difficulties  were  over.  For  with  a  large  salary  at  her  command 
she  no  longer  needed  to  worry  about  taking  care  of  her  father — 
who  was  ill  and  blind,  due  to  the  drinking  of  bad  liquor — or  about 
paying  the  mysterious  Mr.  Watrous,  whose  check  her  father  had 
raised  in  a  moment  of  intoxication.  Joy  had  been  at  the  end  of 
her  rope,  for  the  play  in  which  she  was  ingenue  had  closed,  and 
she  had  quarreled  with  Arthur  Lloyd — a  suitor  as  ardent  as  he 
was  selfish.  She  did  not  like  the  idea  of  prying  into  Romain's 
past,  but  it  was  an  unwritten  condition  of  her  contract;  for  Jean 
was  engaged  to  Margot  Gresham,  whose  millionaire  father  was 
anxious  to  break  off  the  match.  The  tragic  and  unexplained  death 
of  Romain's  first  wife  was  the  point  upon  which  the  whole  situation 
pivoted,  but  Joy — who  felt  a  decided  attraction  toward  the  man — 
was  loath  to  believe  him  guilty.  The  wife  of  an  art  director,  Sam 
Kramer,  a  curiously  sinister  woman — evidently  knew  a  great  deal 
about  the  matter.  Joy  recognized  her  as  a  menace,  and  felt  that 
jealousy  prompted  her  every  move.  As  her  work  with  Romain 
progressed  she  discovered  that  Margot  was  jealous,  also.  And  to 
complicate  matters,  Arthur  Lloyd,  hearing  rumors  of  an  infatua- 
tion, accepted  a  motion  picture  contract  and  started  west — so  that 
he  might  watch  Joy.  Mrs.  Kramer  took  him,  immediately,  into 
her  confidence — and  they  planned  Jean  Romain's  downfall,  to- 
gether. Joy,  unknowing,  went  through  the  big  scene  of  her  film 
play — in  which,  as  a  Greek  slave,  she  danced  before  Romain.  Her 
dance  stirred  him  so  deeply  that,  hours  later,  he  went  to  her  dress- 
ing room  and,  as  she  answered  his.knock,  seized  her  in  his  arms. 


Chapter  XVIII 

WHEN  Joy  Moran  opened  the  door  of  her  dressing 
room  to  find  herself  so  suddenly  and  unexpectedly 
clasped  in  Jean  Romain's  arms,  two  different  and 
in  fact  entirely  opposite  emotions  swept  over  her. 
The  first  had  to  do  with  her  newly-admitted  love  for  Romain. 
In  springing  up  from  the  couch  on  which  she  had  been  lying,  the 
embroidered  kimono  she  wore  drifted  back  from  her  bare  shoul- 
ders, leaving  her,  in  her  dancing  costume,  almost  nude.  Even 
as  she  felt  Romain's  arms  close  about  her,  felt  the  sting  of  his 
flesh  against  her  own,  she  gave  silent  thanks  for  the  darkness  of 
the  room. 

She  had  supposed  [her  visitor  [to  be  Mrs.  Soule.  Yet  to  lie 
thus  in  his  arms,  his  lips  pressed  against  hers,  pressed  so 
fiercely  that  it  hurt  her — was  the  madness  of  a  dream  she  had 
pictured  to  herself  many  times,  with  thrills  of  delight. 

On  the  other  hand,  a  bitter  anger  gripped  her.  What  sort  of 
love  did  Romain,  already  engaged  to  Margot  Gresham,  propose 
to  offer  her?  Certainly  nothing  honorable.  In  all  their  many 
talks  he  had  invariably  spoken  of  the  vivid  attraction  she  held 
for  him — had  let  her  see  plainly  enough  that  he  desired  her,  in 
a  physical  sense,  but  never  once  had  he  suggested  any  such 
thing  as  marriage.  She  knew,  indeed,  that  he  was  in  no  posi- 
tion to  make  any  such  suggestion.  He  could  not  break  his 
engagement  to  Miss  Gresham.  Only  she  could  do  that,  and 
Joy  had  very  grave  doubts  that  he  wanted  her  to  break  it. 
Whether  he  was  marrying  Margot  for  her  money,  or  through 

55 


"Suppose  I  refuse?  "  Porter  asked 

sullenly.    ''If  you  do,  you'll  go  to 

jail  before  night,"  answered  Lloyd. 

Porter  wilted 


amies  ii(oiirsoiiie»y  TiAS<c 


gratitude  because  of  the  service  which,  according  to  Mrs. 
Kramer's  story,  the  girl  had  rendered  him  at  the  time  of  his 
wife's  death,  Joy  did  not  know.  But  whatever  the  reason,  he 
seemed  quite  prepared  to  go  ahead,  to  hold  to  his  engagement, 
and  hence,  Joy  argued,  any  advances  on  his  part  could  have 
but  one  purpose — a  dishonorable  purpose,  as  she  looked  at  it — 
a  cheap  and  vicious  love-affair,  of  the  body,  and  not  of  the 
heart. 

For  a  moment  the  wave  of  passion  which  swept  over  her 
proved  the  stronger  emotion  of  the  two — stronger  than  her  will 
power,  her  good  sense.  Her  brain  whirled  in  golden  circles. 
The  touch  of  his  lips  set  her  blood  afire.  She  trembled  in  his 
arms  as  though  a  chill  had  seized  her,  yet  felt  no  sensation  of 
cold.  Instead,  there  grew  in  her  a  strange  lassitude,  a  lack  of 
desire  to  resist,  a  sensation  such  as  might  have  been  produced 
by  some  powerful,  deadening  drug. 

Then  came  reaction,  swift,  bitter — the  more  bitter,  perhaps, 
because  of  her  momentary  weakness.  She  struck  out  blindly, 
savagely,  pressing  her  bare  arms  against  his  throat,  forcing  her- 
self backward,  away  from  him,  until  she  felt  his  embrace  relax, 
found  herself  suddenly  free.  Then  she  clutched  the  kimono 
fiercely  about  her,  and  throwing  herself  on  the  couch  burst 
into  tears. 

Romain,  a  look  of  deep  surprise  on  his  face,  crossed  the  room 
in  a  stride  and  dropping  on  his  knees  attempted  once  more  to 
sweep  her  in  his  arms,  comfort  her.  But  Joy  was  beyond  com- 
forting. Something  within  her  had  been  cruelly,  ruthlessly 
hurt.  It  was  the  first  time  in  her  life  that  she  had  known  love, 
and  it  seemed  to  her  that  Romain  had  prostituted  it  to  mean 
and  tawdry  ends.  Why  had  he  crept  to  her  dressing  room  at 
this  hour,  when  everyone  else  had  gone?  Why,  save  for  one 
reason?  Was  that  all  he  wanted  of  her,  then — to  fold  her  young 
body  in  his  arms,  make  her  a  momentary  plaything,  drag  all 
the  fresh  sweetness  of  love  in  the  mud  of  a  momentary  passion? 
God — how  easy  it  would  be  to  yield!  The  bare  flesh  under  her 
kimono  fairly  tingled  at  the  thought  of  it.  But  her  heart  was 
as  cold  as  a  stone. 

"Go  away,  please,"  she  said,  in  a  dull,  toneless  voice. 

"But,  Jo> — my  dear  girl — listen  to  me" — 

56 


"Please  go.    I — I'm  very  tired.    I  want  to  be  alone." 

He  rose  suddenly,  standing  slim  and  erect  beside  the  couch. 

"I — I  had  no  idea  when  I  came  that  you  wouldn't  be 
dressed,"  he  whispered.     "I  wanted  to  take  you  home." 

The  pleading  note  in  his  voice,  the  repentance,  failed  to 
move  her.  Even  yet  he  had  not  spoken  a  word  of  love.  Well, 
why  should  he,  she  thought  bitterly,  except  as  men  so  often 
misused  the  word,  covering  a  grosser  meaning.  Why  should 
he  speak  to  her  of  love,  loving  someone  else? 

She  sat  up,  shook  her  head.  Her  face  was  pale  as  moon- 
light. The  fingers  which  clutched  the  kimono  about  her 
trembled  with  weakness. 

"Go  away — please,"  she  whispered.  "Someone  may  come, 
and  I"— she  began  to  sob  again,  wretchedly.  It  all  seemed  so 
hopeless,  so  hard. 

"I'm  not  going  before  I  tell  you  that  I  love  you,"  he  flashed 
out. 

Joy  rose.  She  was  angry,  now.  All  the  weakness  in  her 
had  fled. 

"How  many  other  women  have  you  said  that  to,"  she 
sneered,  "besides  myself,  and  Margot  Gresham?" 

Before  her  furious  eyes  Romain's  own  dropped.  The  con- 
tempt in  her  voice  bit  deep. 

"Is  that  fair?"  he  asked. 

"Why  not?  You're  engaged  to  her,  aren't  you?  Then 
what  sort  of  a  proposition  do  you  want  to  make  to  me?" 

"Have  I  said  I  wanted  to  make  any  proposition?" 

"Not  in  words,  perhaps.  But  if  you  did  love  me,  which  I 
am  perfectly  sure  you  do  not — you  would  never  have  humil- 
iated me  like  this." 

"But — I — don't  understand — " 

"Oh,  yes,  you  do.  You  say  you  love  me.  Well — what 
then?" 

He  hesitated  for  a  moment,  realizing  the  full  import  of  her 
words.  What  then?  Suddenly  he  seized  her  hand,  held  it  in 
spite  of  her  attempts  to  draw  it  away. 

"Joy,"  he  said,  "I  do  love  you.     And  if  I  were  free" — 

She  flamed  up  again  at  this. 

"Don't  you  think,  then,  that  you  had  better  wait  until  you 


m 


are,  before  trying  to  make  love  to  another  woman?"  Her 
voice  was  like  white  hot  steel.  "Wouldn't  it  be  more- 
honorable?" 

He  dropped  her  hand  at  once  and  went  over  to  the  window, 
stood  there  gazing  out  into  the  darkness.  Presently  he 
turned. 

"There  are  some  things  I  can't  explain — can't  tell  you 
about,"  he  said. 

"I  don't  want  to  hear  them." 

"I  know.  Why  should  you?  And  yet,  no  matter  what  you 
say — what  anybody  says — I  love  you." 

For  a  moment  Joy  was  thrilled  by  the  vibrance  of  his  voice, 
the  intensity  of  his  manner.     Then  she  once  more  grew  cold. 

"I  think  we  had  better  end  this  conversation  right  now," 
she  said.  "It  isn't  getting  us  anywhere,  and  the  things  you 
are  saying  are  not  only  disloyal  to  the  woman  you  have  prom- 
ised to  marry  but  at  the  same  time  rather  insulting  to  me. 
I'm  no  saint.  I  feel,  just  as  other  women  feel.  And  I  ad- 
mire you — have  admired  you — tremendously.  You  know 
that.  And  I  suppose  I'm  quite  capable  of  giving  myself  to 
a  man  I  loved,  if  he  loved  me,  and  we  couldn't  have  each  other 
in  any  other  way.  But  when  a  man,  proposing  to  marry  one 
woman,  goes  out  of  his  way  to  make  love  to  another,  he  can 
have  only  one  purpose  in  mind,  and  that  purpose  is  an  insult 
to  anything  like  love.  Margot  Gresham  is  away,  so  I  sup- 
pose a  little  thing  like  an  engagement  wouldn't  prevent  you 
from  making  a  conquest  of  me  for  a  few  days — adding  another 
scalp  to  your  belt — " 

"  God,  Joy!  Don't  say  things  like 
that.     You  know  they're  not  true." 

"Then  if  they're  not,  and  you  do 
love  me  as  you  say,  I  think  quite  as 
little  of  you,  for  I  know  that,  in  spite 
of  your  so-called  love  for  me,  you  are 
going  ahead  to  marry  someone  else — 
someone  you  don't  love — for  her 
money.  Between  a  seducer  and  a 
fortune  hunter  there  isn't  really  very 
much  to  choose." 

She  spoke,  intending  to  hurt  him 
— to  drive  the  iron  deep  into  his 
soul.  She  had  been  hurt  herself,  and 
her  own  wounds  made  her  savage. 
But  when  she  saw  the  look  of  pro- 
test, of  pain  which  crossed  his  face, 
she  felt  sorry,  for  the  moment,  that 
she  had  struck  so  hard. 

Romain  bent  down  and  picked  up 
his  hat.  It  had  fallen  to  the  floor  in 
that  first  mad  embrace.  He  stood 
silent  for  several  moments,  beside 
the  door,  gazing  down  at  the  hat, 
creasing  its  soft  felt  between  his  fin- 
gers. When  at  last  he  looked  up 
there  was  sadness,  rather  than  anger, 
in  his  eyes. 

"You  might  be  right  in  what  you 
say.  And  yet,  I  wasn't  trying  to 
'seduce'  you,  and  I'm  not  a  fortune 
hunter.  You've  done  me  an  injus- 
tice, that's  all.  I  might  have  ex- 
plained how,  some  day,  but  I  can't 
now.  And  I  don't  see  much  use  in 
it,  after  what's  happened.  As  I've 
told  you,  I  came  here  to  take  you 
home.  They  said  you  hadn't  gone. 
I  thought  of  course  you'd  be  dressed 
— ready  to  leave.  When  I  saw  you 
some  impulse  made  me  take  you  in 
my  arms.  I'm  not  ashamed  of  it. 
Not  a  bit.  I  had  no  idea,  when  I 
came  here,  of  telling  you  that  I  loved 
you.  I've  had  to  keep  myself  from 
telling  you,  ever  since  we  met.  It 
hasn't  been  easy,  either,  but  I  did  it 
because  I  wanted  to  be  loyal  to  Mar- 
got.  I  owe  her  more  than  you  can 
ever  guess.  But  when  you  said  the 
things  you  did — when  you  implied 
that  from  the  first  moment  I  entered 
this  room  I  had  but  one  purpose,  to 
— well — as   they   say   in   the   melo- 


dramas, to  ' ruin'  you — I  had  to  speak,  so  that  you  would  know 
it  was  really  love,  and  not  the  calculated  passion  of  a  moment 
that  made  me  take  you  in  my  arms.  Not  that  I  don't  want 
you.  God  knows  I  do,  and  have,  ever  since  the  first  moment 
I  saw  you.  I  always  shall.  You  appeal  to  me  as  no  other 
woman  ever  appealed  to  me.  But  just  the  same,  that  wasn't 
why  I  came.  You  can  believe  me  or  not,  as  you  please.  After 
all,  I  guess  it  doesn't  make  much  difference,  now.  Good-bye." 
Joy  watched  him  in  silence  as  he  left  the  room,  closing  the 
door  carefully  after  him. 

Slowly,  mechanically,  like  one  in  a  daze,  she  switched  on 
the  lights.  Again  her  thoughts  became  confused,  uncertain. 
Had  she  done  him  an  injustice?  Were  the  things  he  had  said 
true?  Even  an  honorable  man  might,while  engaged  to  one  woman, 
fall  in  love  with  another.  But,  in  that  event,  was  it  not  his 
duty  to  all  concerned  to  go  to  the  first  woman,  ask  to  be  re- 
leased from  his  engagement?  And  Romain  had  not  done  this — 
had  made  no  suggestion  of  doing  it.  On  the  contrary,  he  had 
hinted  at  mysterious  reasons  why  he  could  not  do  it,  had 
spoken,  guardedly  but  none  the  less  intentionally,  of  some 
debt  to  Margot  Gresham — some  obligations  he  felt  bound  to 
discharge.  What  could  such  reasons  be,  Joy  wondered,  if 
indeed  there  were  any  at  all — if  the  whole  story  had  not  been 
an  excuse,  a  graceful  way  of  withdrawing  from  an  extremely 
awkward  situation. 

There  was  the  gratitude  toward  Margot  Gresham  of  which 
Mrs.  Kramer  had  spoken,  but  somehow  it  scarcely  seemed  to 


Pale   as    marble   Joy   turned   to 
Lloyd.     "Give  me  the  statement," 
.  she  said.     "I'll  go  up  to  my  room 
and  read  it" 


57 


'Wh 


Joy  a  sufficient  reason  for  marrying  a  woman  one  did  not  love, 

especially  when  one  claimed  to  be  in  love  with  another.      It 

seemed     unreal,    fantastic,    unless — and    here    more    sinister 

thoughts  crept  into  Joy's  brain — unless    Romain    really    had 

been  guilty  of  a  crime,  and  Margot  had  saved  him.      In  that 

event,  of  course,  the  girl  would  hold  him  in  her  power,  if  she 

cared  to  make  use  of  it.     At  the  first 

suggestion    of   leaving    her,    she    could 

threaten  him,  command  him,  through 

fear  of  exposure.    Was  Margot  Gresham 

such   a    woman?     Joy   did   not    know. 

Women,  in  love,  were  strange  creatures. 

But  what  terrified  her  most  was  the  sure 

knowledge  that  no  man  could  be  held 

thus  in  the  power  of  a  woman  unless  he 

were  guilty.     If  Romain  were  innocent, 

exposure  could  have  no  terrors  for  him. 

But  if  he  were  not — Joy  shuddered;  the 

course  of  her  reasoning  brought  her  no 

consolation;  it  sickened  her  to  think  that 

Romain  was  the  sort  of  man  who  would 

hide  behind  the  skirts  of  a  woman,  and 

yet.  if  her  reasoning  were  correct,  this 

was  exactly  what  he  had  done. 

One  other  possibility  occurred  to  her. 
Romain  and  Margot  might  be  already 
married.  Or  be  living  together  as  man 
and  wife  pending  an  open  marriage  later 
on.  She  could  see  excellent  reasons  for 
this.  Some  of  the  gossips  had  held  that 
Romain  made  away  with  his  wife  in 
order  to  marry  Margot.  To  have  mar- 
ried her  without  the  expiration  of  a 
decent  interval,  would  have  added  fresh 
fuel  to  the  fires  of  scandal  which  other- 
wise might  slowly  have  died  out.  It  was  a  queer  tangle,  Joy 
decided,  as  she  left  her  room  and  went  down  the  corridor. 

Much  to  her  surprise,  she  found  Arthur  Lloyd  waiting  for 
her  outside  the  studio  door.  He  seemed  greatly  excited;  his 
manner  was  quick,  nervous,  almost  accusing.  He  suggested 
that  they  walk  back  to  the  hotel  together,  and  Joy,  glad  of  the 
fresh  air,  at  once  consented.  After  the  scene  she  had  just  been 
through,  she  felt  the  need  of  it.  And  she  sensed,  too,  that 
Arthur  had   something   unpleasant   to  say,   which   would   be 


en  a  man 


>ro- 


posing  to  marry  one 
woman,  goes  out  of 
his  way  to  make  love 
to  another,  he  can 
have  only  one  pur- 
pose, and  that  purpose 
is  an  insult  to  any- 
thing like  love" —  says 
Joy  Moran,  the  hero- 
ine of  this  story. 


better  not  said  at  the  hotel.  "Is  anvthing  the  matter, 
Arthur?"  she  asked,  after  a  few  moments  of  sinister  silence 
between  them. 

"Yes.     What    was   Jean    Romain   doing   in   your   dressing 
room?" 

The  question  came  like  a  thunderbolt.     How  had  Arthur 
known? 

"Who  says  he  was  in  my  dressing 
room?"  Joy  countered. 

"Never  mind  about  that.  I  don't 
have  to  tell  you.  Perhaps  someone  I 
know  saw  him.  The  rotter  waited  until 
he  thought  everyone  else  had  gone,  but 
maybe  they  hadn't.  I  passed  him  when 
he  left  the  studio — just  a  few  minutes 
ago.  Too  foxy  to  be  seen  coming  out 
with  you,  of  course.  What  was  he  doing 
in  your  room?  And  why  did  you  let 
him  in?" 

Joy  was  too  tired  even  to  attempt  to 
lie. 

"He  was  talking  to  me,"  she  said. 
"That  answers  your  first  question.  As 
for  my  having  let  him  in,  to  tell  you  the 
truth,  Arthur,  I  was  so  tired,  after  that 
dance,  I'd  fallen  asleep,  and  when  I 
opened  the  door  he  came  right  in  before 
I  knew  it." 

"And  took  you  in  his  arms,  I  sup- 
pose," Arthur  snarled,  with  uncanny 
correctness.  His  voice  was  harsh,  his 
eyes  gleamed  hot  with  anger. 

Joy  felt  that  the  time  for  frankness 
had  passed.  There  was  no  telling  what 
Arthur  in  his  jealous  rage  might  do. 
"You  shouldn't  assume  such  things,  Arthur,"  she  said 
quietly.  "You've  known  me  for  a  long  time.  I  had  hoped 
you  knew  me  well  enough  to  realize  that  I'm  a  decent  woman. 
Mr.  Romain  came  in  there  to  talk  to  me  about  something. 
He  shouldn't  have  come,  and  I  told  him  so.  But  there  was 
certainly  nothing  wrong  about  it — in  the  sense  you  mean. 
I  sha'n't  tell  you  that  more  than  once.  I  refuse  to  defend  my- 
self on  such  a  point.  You  are  at  liberty  to  think  what  you 
please,    but    if   you    have    any  [continued  on  page  118] 


58 


The  South  Sea  Siren  now  dances  to  the  click  of  the  camera 

Gilda  Grey  shook  the  shoulders  of  the  world  with  her  shimmy  a  few  years  ago.  Then  she  started  the  South  Sea  movement 
on  Broadway,  starring  in  the  Follies  and  at  the  Rendezvous  cabaret.  Now  Allan  Divan  has  lured  her  into  "Lawful  Lar- 
ceny."    You  behold  her  here  in  her  own  poignant  and  personal  little  drama  entitled  "The  Rustle  of  Raffia" 


The  Shadow  Stage 


(REG.  U.  S.  PAT.  OFF.) 


A   REVIEW   OF   THE    NEW   PICTURES 

By  Frederick  James  Smith 


DAVID  WARK  GRIFFITH'S  "The  White  Rose"  was 
at  once  the  most  interesting  and  the  most  disappoint- 
ing photodrama  of  the  early  Summer.  We  have  come 
to  expect  so  much  of  the  dean  of  the  silver  sheet — and 
"The  White  Rose"  realizes  so  little. 

Actually,  "The White  Rose"  is  a  variation  of  "  'Way Down 
East"  with  Louisiana  trimmings.  It  is  the  old,  old  story  of 
the  innocent  girl  who  loves  not  wisely  but  too  well.  Griffith  has 
tricked  it  out  in  beautiful  photography  and  two  tenderly  mov- 
ing moments  but,  stacked  against  these  lyric  qualities,  are  reels 
of  hokum  black  face  comedy,  atrocious  valentine  sub-titles  and 
a  thousand  and  one  inconsequentials.  The  theme  itself  be- 
comes terribly  cluttered  up  with  these  inessentials  and  con- 
tinually wanders  into  blind  alleys. 

Whatever  else  one  may  say  of  "The  White  Rose,"  it  at  least 
brings  back  Mae  Marsh  to  the  screen — and  restores  her  to  us 
with  a  smash.  Miss  Marsh  plays  the  girl  of  the  Griffith  story, 
a  wistful  little  waitress  with  a  pitiful  longing  for  life.  Her  per- 
formance throughout  is  a  joy,  replete  with  the  subtleties  of 
adroitly  placed  lights  and  shades.  Twice  she  strikes  a  splendid 
height,  as  the  flapper  surrendering  to  love  under  the  Dixie  moon 
and,  again,  as  the  broken  mother,  face  to  face  with  death. 

There  are  several  newcomers  in  "The  White  Rose."  Ivor 
Novello  is  the  young  minister  who  almost  brings  death  to  the 
girl.  From  a  photographic  viewpoint  he  is  superb.  Dramati- 
cally he  is  superficially  skilful,  but  his  performance  left  us  cold. 
Another  newcomer,  Neil  Hamilton,  reveals  some  possibilities. 
The  fourth  principal,  Carol  Dempster,  does  not  rise  to  the 
opportunities  of  her  role.  She  is  the  weakest  link  in  the  picture. 
"The  White  Rose "  leaves  us  rather  puzzled  as  to  the  problem 
of  Griffith.  Somehow,  he  seems  to  us  to  be  a  great  man  living 
within  a  circle  of  isolation,  surrounded  by  minor  advisors. 
Genius  out  of  touch  with  the  world,  as  it  were. 

WE  found  Booth  Tarkington's  "Penrod  and  Sam"  to  pos- 
sess a  gentle  charm  and,  in  moments,  a  genuine  poignancy. 
This  adaptation, 
very  well  done,  re- 
lates simply  the  epi- 
sodic boyhood  ad- 
ventures of  the 
younger  son  of  the 
house  of  Schofield 
and  centers  largely 
around  the  shack  on 
the  adjoining  vacan  t 
lot,  where  meet,  in 
sworn  secrecy,  the 
In-and-Ins,  Pen- 
rod's  gang.  There 
is  no  big  punch, 
none  of  the  usual 
cinema  trimmings. 
And  yet  the  scene 
where  Penrod  is 
jaoved  to  tears  by 
memories  of  his 
dead  pal,  a  little 
dog,  is  one  of  the 
most  compelling 
moments  of  months. 
Ben  Alexander  is 
the  Penrod  and  his 
performance  is 
guilelessly  excellent. 
Yet  there  is  a  pang 
to  observe  the 
child     of     "Hearts 


Mae  Marsh,  shown  here  with  It 
return  to  the  screen  in 


of  the  World"  grown  to  freckled  boyhood.  The  whole  cast  is 
well  chosen  and  there  is  an  interesting  novelty  in  its  making. 
Not  a  bit  of  make-up  was  used  through  its  whole  length,  by 
either  the  children  or  the  grown-ups. 

THE  Goldwyn  revival  of  Rex  Beach's  "The  Spoilers"  held 
our  interest  pretty  consistently.  This  melodrama  of  the 
gold  rush  era  in  Alaska  was  once  a  milestone  in  the  photoplay's 
onward  march,  as  it  was  done  by  Selig  with  the  film's  first  great 
fight  between  Thomas  Santschi  and  William  Farnum. 

There  is  little  novelty  in  "The  Spoilers"  these  days.  Stories 
of  honest  prospectors,  vivid  dance  hall  belles  and  unscrupulous 
mining  camp  villains  have  been  done  time  and  again.  And  yet 
this  Beach  novel  seems  to  stand  the  test  of  time  fairly  well. 
Milton  Sills  and  Noah  Beery  are  adequate  enough  as  the 
fighters,  and  they  do  their  best  to  make  their  combat  a  vivid 
one  in  the  face  of  all  the  silversheet  fights  of  the  past.  Anna  Q. 
Nilsson  doesn't  equal  the  Cherry  Melotte  of  Kathlyn  Williams. 

EVERY  now  and  then  William  de  Mille  reveals  a  fine  piece  of 
directorial  craftsmanship- — and  thereby  restores  our  totter- 
ing faith  in  him.  His  adaptation  of  A.  E.  Thomas'  play, 
"Only  38,"  is  a  case  in  point.  This  feminine  " Conrad  in  Quest 
of  His  Youth  "  is  a  gem  of  filmdom. 

At  the  age  of  thirty-eight,  the  mother  of  18-year-old  twins 
finds  herself  a  widow.  Hungry  for  the  things  denied  her  for 
twenty  years,  she  starts  in  quest  of  her  lost  youth.  How  she 
finds  a  belated  romance  and  wins  over  the  well-meaning,  adoles- 
cent resentment  of  her  children  forms  the  quiet  little  story.  It 
is  all  very  unpretentious — and  yet  it  goes  direct  to  the  heart. 
Largely  through  Mr.  de  Mille's  sympathetic  and  restrained 
direction.  And,  in  a  great  measure,  because  of  Lois  Wilson, 
who  realizes  superbly  the  slumbering  tragedy  of  the  woman  who 
is  "only  38."  Here  is  acting.  The  whole  cast  is  admirable, 
one  of  the  best  of  .the  year.  May  McAvoy  gives  a  remarkably 
able  portrayal  of  the  straight-laced  little  daughter,  her  best 

work  since  her  un- 
forgettable Grizel. 
Robert  Agnew  is 
likeable  as  the  son 
and  Elliott  Dexter 
ingratiating  as  the 
professor  who  holds 
the  key  to  the  be- 
lated romance. 

MAIN  Street" 
is  neither  true 
to  Sinclair  Lewis  nor 
to  small  town  life. 
But  it  is  entertain- 
ing in  its  way.  The 
adaptation  fairly 
shrieks  for  King 
Vidor.  Florence 
Vidor's  performance 
of  Carol  is  splendid, 
however. 

THE  EXCIT- 
ERS" lands 
among  the  six 
best  upon  its  speed 
and  sheer  melo- 
dramatic entertain- 
ment.  It  is  as 
diverting  as  a  fic- 
tion thriller. 

63 


or  Novello,  makes  a  smashing 
"The  White  Rose" 


The  National  Guide  to  Motion  Pictures 


THE  EXCITERS— Paramount 

THIS  jazzy  little  melodrama  has  speed  and  it  will  hold 
your  interest,  if  you  do  not  question  its  probabilities  too 
closely.  The  heroine  is  a  typical  super-jazz  baby  of  1923,  a 
thrill-hunter  who  marries  a  burglar  in  her  search  for  sur- 
prises. And,  lo,  the  second-story  man  turns  out  to  be — but 
we  won't  spoil  your  fun.  Anyway,  the  fair  thrill  devotee 
gets  all  the  excitement  she  craves — and  a  handsome  hus- 
band in  the  person  of  Tony  Moreno.  And,  since  the  jazzite 
is  Bebe  Daniels,  you  can  imagine  the  suspense.  "The 
Exciters,"  which,  by  the  way,  was  a  stage  play  by  Martin 
Brown,  isn't  real  art  and  yet,  maybe,  it  is — for  it  is  good 
entertainment.  Which  makes  it  one  of  our  chosen  six.  We 
refer  you  to  the  comments  on  page  sixty-three  for  addi- 
tional  details. 


ONLY  38— Paramount 

SOME  time  ago  Walter  Prichard  Eaton  wrote  a  little  mag- 
azine story  of  a  widow,  on  the  edge  of  forty,  and  her  quest 
for  her  lost  youth.  In  time  it  became  a  stage  play  and, 
finally,  it  reached  the  screen.  Luckily  it  made  the  last  step 
in  the  hands  of  William  de  Mille.  For,  in  his  sympathetic 
handling,  it  developed  into  one  of  the  human  little  dramas 
that  go  direct  to  the  heart.  "Only  38"  is  unpretentious. 
But  tragedy  lurks  just  beneath  the  surface  all  the  way. 
We  want  to  compliment  Mr.  de  Mille.  Here  he  has  revealed 
that  rarest  of  directorial  qualities — restraint.  And  not  the 
least  admirable  is  his  selection  of  the  cast,  which  is  the  best 
of  many,  many  months.  Lois  Wilson  gives  a  matchless 
performance  of  the  widow,  and  May  McAvoy  and  Robert 
Agnew  are  delights  as  her  adolescent  children. 

64 


PHOTOPLAY'S  SELECTION 

OF  THE  SIX  BEST 
PICTURES  OF  THE  MONTH 


THE  WHITE  ROSE 

PENROD  AND  SAM 

ONLY  38 

THE  SPOILERS 

THE  EXCITERS 

MAIN  STREET 


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THE  WHITE  ROSE— United  Artists 

EVERY  new  production  coming  from  the  David  Wark 
Griffith  studios  has  unusual  significance.  One  can  never 
tell  when  Griffith  may  cast  aside  hokum  and  become  the 
celluloid  adventurer  of  old.  The  usual  suspense  preceded 
this  new  production,  "The  White  Rose,"  but  disappoint- 
ment was  manifest.  There  is  the  usual  wronged  girl,  moving 
through  a  .maze  of  beautiful  photography,  awful  comedy 
and  absurd  sub-titles.  This  time  the  wronged  girl  is 
superbly  played  by  Mae  Marsh — and  here  alone  the  pro- 
duction reaches  its  height.  Miss  Marsh  has  several  mo- 
ments when  she  comes  close  to  silver  screen  greatness. 
We  are  not  sure  but  that  she  touches  it. 

Say  what  one  may  about  "The  White  Rose,"  it  is  not 
possibly  honestly  to  suprcss  one's  conviction  that  this  sort 
of  stuff  is  a  complete  waste  of  the  genius  of  the  man  who 
could  make  "The  Birth  of  a  Nation,"  "Intolerance"  and 
"Broken  Blossoms."  Most  of  all,  Griffith  seems  to  us  to 
need  a  sane  perspective  just  now. 

"The  White  Rose"  will  be  remembered  chiefly  as  marking 
the  triumphant  return  of  Mae  Marsh  after  an  absence  of 
several  years.  She  gives  a  superb  performance  of  the  little 
waitress  who  comes  to  grief  through  love. 

As  it  was  presented  in  New  York,  in  eleven  reels,  "The 
White  Rose  "  was  entirely  too  long.  It  wandered  into  count- 
less inessentials.  It  was  full  of  inconsequential  details.  It 
introduced  characters  and  then  dropped  them  instanter.  It 
lumbered  and  creaked.  It  paused  dozens  of  times  for  hokum 
black-face  comedy.  Griffith  apparently  threw  in  everything 
he  could  think  of  to  make  a  success.  But  successes  aren't 
made  that  way. 


Saves  Your  Picture  Time  and  Money 


PHOTOPLAY'S  SELECTION 

OF  THE  SIX  BEST 
PERFORMANCES  of  the  MONTH 

Mae  Marsh  in  "The  White  Rose" 

Florence  Vidor  in  "Main  Street" 

Lois  Wilson  in  "Only  38" 

May  McAvoy  in  "Only  38" 

Monte  Blue  in  "Main  Street" 

Charles  Ruggles  in  "The  Heart  Raider" 

Casts  of  all  pictures  reviewed  will  be  found  on  page  108 


PENROD  AND  SAM— First  National 

SYMPATHETICALLY  developed  into  screen  form,  this 
version  of  Booth  Tarkington's  delightful  boyhood  stories 
becomes  something  of  a  screen  classic.  It  is  delightful  in  its 
un-screen  qualities,  a  fresh  and  diverting  study  of  the  small 
boy  rampant.  It  wasn't  easy  to  develop  a  series  of  episodic 
adventures  into  a  well  knit  scenario,  but  the  present  adapters 
seem  to  have  overcome  most  of  the  difficulties.  The  action 
moves  divertingly  around  the  club-house  of  the  In-and-Ins, 
Penrod  Schofield's  "secret  lodge."  In  other  words,  around  a 
shack  on  the  vacant  lot  adjoining  the  house  of  Schofield,  Sr. 

No  attempt  is  made  towards  punches — and  yet  "  Penrod 
and  Sam"  achieves  a  highly  moving  moment  in  the  death  of 
the  boy's  pet  dog.  Here  is  tragedy  unadulterated.  Director 
William  Baudine  has  told  all  these  boyish  episodes  with  a 
gentle  and  understanding  adroitness,  and  he  has  been  aided 
by  a  very  satisfying  cast,  ranging  from  young  Ben  Alex- 
ander's Penrod  and  Joe  Butterworth's  Sam  to  the  grown-ups, 
nicely  played  by  Rockcliffe  Fellows,  Gladys  Brockwell  and 
others.  It  is  interesting  to  note  that,  along  with  the  other 
moves  toward  naturalism,  all  make-up  was  discarded.  There 
are  no  beaded  eye  lashes  and  cupid-bow  lips. 

If  you  have  loved  these  stories  of  Tarkington — (and  who 
hasn't?) — you  will  love  this  screen  adaptation.  For  here  you 
will  find  all  the  characters,  from  Penrod  and  Sam  to  fat 
Rodney  Bills,  the  good  boy — Georgie  Bassett,  and  the  two  dark 
neighbors,  Herman  and  Verman.  Not  to  mention  the  fair 
Marjorie  Jones.  And  you  will  find  that  Pa  and  Ma  Schofield 
are  pretty  much  as  you  imagined  them,  along  with  the 
nearly  grown-up  Mar^arel  Schofield  and  her  admirer,  Robert 
Williams.     They're  all  here. 


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THE  SPOILERS— Goldwyn 

LONG  ago — in  the  pioneer  screen  days — the  old  Selig 
company  turned  out  a  melodrama  based  upon  Rex 
Beach's  "The  Spoilers."  The  melodrama  made  film  history, 
for  it  had  the  first  great  film  fight.  And  the  fight  in  turn 
made  William  Farnum  and  Thomas  Santschi.  Years  have 
passed  and  many  a  tale  of  the  Alaskan  gold  rush  days  has 
appeared.  But  this  new  version  of  the  Beach  romance  still 
has  its  measure  of  vitality.  Certainly  the  best  cast  available 
was  assembled  to  revitalize  it  into  celluloid  form.  The  fight 
— and  a  good  one  it  is — is  in  the  hands  of  Milton  Sills  and 
Noah  Beery;  that  superb  dance  hall  girl  of  Beach  fiction, 
Cherry  Melolle,  is  nicely  done  by  Anna  Nilsson;  and  the 
heroine  is  neatly  presented  by  Barbara  Bedford.  Scores  of 
"big  names"  are  in  minor  roles. 


MAIN  STREET— Warner  Brothers 

WE  anticipated  failure  in  the  transfer  of  Sinclair  Lewis' 
"Main  Street"  to  the  screen.  Only  a  great  director 
could  transfer  either  the  physical  or  the  mental  side  of  the 
Lewis  study  in  small  townism.  Only  he  could  capture  the 
microscopic  detail  of  Lewis'  word-painting  or  catch  the 
mental  clash  of  the  characters.  Yet  for  two  reels,  this  film 
"Main  Street"  is  good.  It  gets  the  first  collision  of  Carol 
Kennicoll  with  Gopher  Prairie  in  fine  fashion.  On  one  hand, 
there  is  the  idealistic  little  snob,  Carol;  on  the  other,  the 
drab,  slow-thinking,  satisfied  middle  class  of  all  Main  Streets 
rolled  into  one.  Then  the  film  version  slips — and  collapses. 
We  are  shown  how  Carol  comes  to  realize  the  "craziness"  of 
her  ideas  and  to  see  that  Gopher  Prairie  is  "such  a  fine  place 
to  raise  children."     But  you'll  like  Florence  Vidor,  anyway. 

65 


THE  GIRL  OF  THE  GOLDEN  WEST— First  National 

DAVID  BELASCO'S  melodrama  of  the  mining  days, 
"The  Girl  of  the  Golden  West"  is  playing  a  return  en- 
gagement on  the  screen — but  the  return  is  disappointing. 
Sylvia  B reamer  certainly  is  not  the  self-reliant  girl  of  the 
Polka  saloon.  Warren  Kerrigan  lacks  force  as  the  heroic 
road  agent.  Evidently  the  difficulties  of  casting  this  revival 
seriously  handicapped  the  director. 


T 


THE  HEART  RAIDER— Pat  amount 

HE  father  of  a  destructive  little  tom-boy  takes  out  in- 
surance to  protect  him  against  damage  suits  caused  by 
his  daughter's  recklessness.  The  policy  is  void  upon  her 
marriage,  and  the  insurance  company,  facing  ruin  because  of 
her  exploits,  sends  an  agent  to  Palm  Beach  to  marry  her. 
He  doesn't — but  he  succeeds  in  arousing  her  reluctant 
suitor's  jealousy.     Agnes  Ayres'  new  personality  goes  fine! 


if 

■     Hrrr 

Wm^ 

L     tAfcJ 

• 

THE  MAN  NEXT  DOOR—Vitagraph 

AN  unsatisfactory  picture — badly  acted,  badly  directed 
and  illogical.  It  seems  impossible  that  the  original 
manuscript  was  written  by  Emerson  Hough.  The  story  of 
two  old  ranchers  and  the  pretty  daughter  of  one  of  them — 
all  three  trying  madly  to  burst  into  society.  They  finally 
manage  it — via  matrimony.  The  character  work  almost 
gets  over,  but  the  acting  honors  go  to  the  clever  bull  terrier. 


GARRISON'S  FINISH— United  Artists 

THIS  is  the  old,  old  racetrack  story,  with  the  honest 
jockey,  the  daughter  of  the  old  Southern  colonel  and  the 
villains  with  the  bottle  of  dope.  No  amount  of  expenditure 
can  make  it  anything  but  what  it  is.  Not  that  there  is  any 
particular  inspiration  in  the  acting  of  Jack  Pickford  or  in 
Arthur  Rosson's  direction.  Rather  dull  and  lengthy,  and 
yet  the  scenes  of  the  Kentucky  Derby  may  hold  some  punch. 


THE  MARK  OF  THE  BEAST— Dixon 

THOMAS  DIXON,  the  author,  wrote  "The  Mark  of  the 
Beast,"  prepared  the  continuity,  did  the  casting  and 
directed  the  production — "without  interference,"  according 
to  the  program  and  Mr.  Dixon.  It  is  an  author's  challenge 
to  "machine-made"  pictures.  The  "machine"  wins.  A  lot 
of  pretentious  bunk  about  psycho-analysis.  Poor  story, 
poor  continuity,  poor  casting,  poor  direction — Poor  public! 

66 


CHILDREN  OF  DUST— First  National 

A  ROMANCE  of  Gramercy  Park,  with  little  of  that  old 
square's  pleasant  atmosphere,  and  entirely  too  much 
about  childish  love  affairs  that  last  through  the  years.  They 
don't,  often.  The  major  part  of  this  picture  is  given  over  to 
cunning  by-play  between  the  kiddies;  and  then  they  drag  in 
the  war  to  finish  things  off.  They  do!  Nothing  offensive  in 
this — and  nothing  breath-taking! 


THE  SHOCK— Universal 

LON  CHANEY  gives  another  of  his  hideously  distorted, 
and  uncannily  clever,  characterizations.  As  a  cripple  of 
the  underworld,  who  gets  salvation  through  his  love  for  an 
innocent  young  country  girl.  The  miracle  idea — which  has 
never  been  allowed  to  rest  since  Chaney's  first  success — is 
brought  in,  linked  up  to  the  great  San  Francisco  earth- 
quake.   Blackmail,  crime  of  all  sorts,  and  unshakable  faith. 


A  MAN  OF  ACTION— First  National 

IF  Douglas  MacLean  ever  gets  a  good  story  he'll  step  to  the 
head  of  the  class  in  light  comedy.  But  there  seems  to  be  a 
conspiracy  against  him  for,  since  "Twenty-three  and  a  Half 
Hours  Leave,"  he  hasn't  had  a  chance.  In  this,  as  a  young 
society  man  impersonating  a  crook,  he  saves  the  diamonds 
and  the  girl.  A  family  picture,  but  the  family  is  likely  to 
find  it  full  of  incongruities. 


MARY  OF  THE  MOVIES— F.  B.  O. 

A  WEAK  plot  that  gets  by  because  of  the  stars  and  near 
stars  that  have  been  made  a  part  of  the  scenery.  The 
action  is  laid,  for  most  of  the  time,  in  Hollywood.  And 
there's  no  telling  who'll  walk  by,  any  minute,  on  the  Boule- 
vard. Just  wondering  is  supposed  to  keep  the  audience  all 
keyed  up.  Some  may  like  it  because  of  this.  The  story  of 
a  stage  struck  girl  who  becomes  a  star. 


SLANDER  THE  WOMAN— First  National 

AGAIN  the  innocent  must  suffer,  and  all  because  men 
will  pursue  and  women  will  draw  conclusions!  The 
conclusions,  this  time,  lead  to  a  murder,  and  the  heroine  is 
named — by  the  wife,  who  did  the  killing — as  the  other 
woman,  and  the  real  cause  of  the  crime.  And  so  said  heroine, 
broken  hearted,  goes  to  the  frozen  north,  where  anything 
may  happen.    It  does!    Splendid  snow  photography. 


FOG  BOUND— Paramount 

ANOTHER  innocent  man  accused  of  murder,  and 
another  lovely  lady  appearing  just  in  the  nick  o'  time 
to  save  his  honor  and  his  life!  It's  always  happening  on  the 
screen — but  so  seldom  off!  This  is  melodrama,  pure  and 
simple,  with  a  good  cast,  splendid  photography,  and  a  satis- 
factory— though  conventional — finish.  Some  elaborate 
scenes,  for  the  ones  who  like  pictures  of  Palm  Beach. 


SNOWDRIFT— Fox 

A  SERIES  of  impossible  episodes  touching  upon  the  life 
of  a  little  white  waif  of  the  north,  who  has  been  brought 
up  partly  by  Indians  and  partly  by  missionaries.  The  result 
is  so  satisfactory  that  every  man  for  miles  around  falls  in 
love  with  her.  "  She  finally,  after  many  adventures  and 
escapes,  marries  a  reformed  gambler,  and  all  is  as  well  as 
could  be  expected!  [  continued  on  page  91  ] 

67 


GoSSip- 
East  &?  West 


By  Cal  York 


Erich  von  Stroheim,  with  bracelet,  wrist 
watch,  basilisk  stare  'n  everything,  greet- 
ing ZaSu  Pitts  and  Gibson  Gowland, 
members  of  the  cast  of  "Greed,"  on  their 
arrival  at  Sa7i  Francisco.  Miss  Pitts  is 
the  osculatee  and,  looking  on  and  learning 
how,  are  Fanny  Midgley,  Dale  Fuller, 
and  Sylvia  Ash  ton 


CAN  a  business  man  live  with  temperament? 
The  answer  was  "yes,"  and  the  proof  was 
the  marriage  of  Elsie  Ferguson  and  Thomas  B. 
Clarke,  Jr.,  millionaire  vice-president  of  the 
Harriman  National  Bank  of  New  York.  For 
-even  years  their  love  craft  has  sailed  quietly 
o\  er  the  matrimonial  seas.  Now,  suddenly, 
and  without  public  warning,  it  has  struck  a 
rock.  The  rock  is  stellar  temperament  or 
"career"  or  whatever  you  choose  to  call  the 
artistic  urge.  Neither  Miss  Ferguson  nor  her 
husband  wishes  to  discuss  their  separation,  but 
the  star  made  a  brief  statement  at  her  luxurious 
apartment  on  Park  Avenue. 

"V\7E  had  an  amicable  understanding  to 
W  separate,"  she  said.    "Of  course,  I  shall 

go  on  with  my  screen  work.    I  am  going  away 

for  the  summer  to  rest. 

"My  work  and  the  demands  it  made  on  my 

time  and  energies  pulled  us  apart.     We  had 

drifted  so  far  from  each  other  already  that  I 

knew  I  would  have  to  choose  one  and  give  up 

the  other." 

Thus  career  again  appears  as  the  enemy  of 

marriage. 

\  A ISS  FERGUSON  has  the  temperament  of 
•iVlthe  artist,  exceedingly  sensitive  and 
nervous.  At  various  times  she  has  gone  on 
long  trips  in  quest  of  recreation.  In  1021  she 
went  to  Europe  with  her  husband,  describing 
the  trip  as  a  second  honeymoon.  Some  time 
later  she  went  to  the  Orient  by  herself. 

Some  of  the  papers  stated  that  Miss  Fer- 
guson was  born  in  1883  and  that  she  is  the 
mother  of  three  children. 

"I  have  no  children,  nor  have  I  ever  had 
any,"  she  said,  correcting  the  statements. 
"And  the  date  of  my  birth  was  wrong.  I  was 
born  in  1886." 

Miss  Ferguson's  first  stage  appearance  was 
as  a  chorus  girl  in  "The  Belle  of  New  York." 
Later  she  played  in  dramatic  parts  and  then 
varied  her  stage  work  with  pictures. 

Her  first  husband  was  Fred  Hoey,  of  Long 
branch,  son  of  the  late  John  Hoey,  president 
of  the  Adams  Express  Company.  They  were 
married  in  1907,  and  were  divorced  in  191 1. 

BUT — in  spite  of  the  example  set  by  Miss 
Ferguson,  Katherine  MacOonald  is  now 
Mrs.  Charles  Schoen  John>on  of  Philadelphia. 
Mr.  Johnson  is  a  millionaire,  the  grandson  of 
the  late  Charles  T.  Schoen,  who  invented  the 
pressed  steel  railroad  car.  The  wedding  was  a 
-urprise  to  the  star's  friends  in  Hollywood.  It 
had   been  steadily  reported   that  she   would 


marry  a  wealthy  Chicago  club  man,  although 
Miss  MacDonald  denied  this  only  recently, 
saying  she  would  remain  an  old  maid.  Of 
course,  that  was  out  of  the  question  since  she 
already  had  had  one  husband,  Malcolm  Strauss 
of  New  York,  from  whom  she  was  divorced 
some  time  ago. 

During  her  career  in  pictures  Miss  Mac- 
Donald  amassed  a  fortune  estimated  at  a  half 
million  dollars.  Although  her  career  was  short 
compared  to  that  of  other  stars  of  her  standing, 
she  proved  to  be  an  exceedingly  shrewd  busi- 
ness woman,  true  to  her  Scotch  heritage.  And 
she  never  indulged  in  the  luxurious  extrav- 
agances common  to  the  Hollywood  set. 

A  ND  now  the  first  Mrs.  Rodolph  Valentino 
■*» — in  other  words,  Jean  Acker — is  about  to 
acquire  a  title.  She  is  going  to  marry  a 
Spanish  admirer,  the  Marquis  Luis  de  Bazany 


Sandoval,  of  Madrid.  (The  name  sounds  like 
a  (  haracter  that  her  famous  one-time  husband 
might  portray!)  By  marrying  the  Marquis, 
Jean  becomes  a  Marquesa  and  a  subject  of 

Spain. 

RUDIE  VALENTINO,  flying  from  two 
thousand  enraptured  damsels,  burst  through 
a  door  marked  "ladies'  room"  and  finally 
found  refuge  in  his  manager's  office.  The 
scene  was  the  Arena  in  Vancouver,  B.  C, 
where  Rudie  danced  with  his  wife  before  eight 
thousand  people.  After  his  tango  and  the 
beauty  contest  he  repaired  to  his  dressing  tent. 
Two  thousand  admirers  pursued,  clamoring  for 
"just  one  more  look."  One  lady  tore  a  rent  in 
the  dressing  tent  to  get  a  peek.  Others  fol- 
lowed until  the  canvas  was  well-nigh  ribbons, 
and  Rudie  with  Natacha  took  flight  through 
an  opening.    They  ran  down  a  corridor,  flung 


A  whole  city  block  for  a  movie  set.    The  economical  Erich  von  Stroheim  is  utilizing 
this  in  making  "Greed,"  the  Goldwyn  adaptation  of  Frank  Norris'  " McTeague" 


themselves  through  the  door  into  the  ladies' 
room  and  finally  arrived  at  the  inner  office  of 
the  manager  of  the  Arena,  the  crowd  barred  by 
the  timely  arrival  of  some  policemen. 

"Well,  anyhow,"  sighed  a  flushed  flapper  of 
nineteen,  "  we  were  near  enough  to  touch  his 
coat!" 

DOUGLAS  FAIRBANKS,  JR.,  has  arrived 
in  Hollywood  to  begin  making  pictures  for 
the  Famous-Players-Lasky  corporation.  Young 
Fairbanks,  who  is  Doug's  only  child  by  his 
marriage  to  Beth  Tully,  is  thirteen  years  old, 
and  is  to  be  given  a  series  of  kid-starring 
vehicles,  including  probably  that  classic, 
"Tom  Sawyer." 

There  can  be  no  question  that  Douglas 
Fairbanks,  Sr.,  resents  the  boy's  entrance  into 
pictures  at  this  time. 

"He's  too  young,"  said  Doug,  when  the 
news  was  brought  to  him,  "much  too  young. 
I  hoped  that  he  would  finish  his  education, 
have  a  splendid  schooling  and  the  joys  and 
opportunities  of  a  college  career,  before 
selecting  his  future  work.  Then,  if  he  wanted 
to  be  an  actor,  I'd  have  been  tickled  to  death 
to  do  my  best  to  help  him.  But  he's  too 
young  now  to  know  what  he  wants — and  I  feel 
greatly  disappointed." 

JESSE  LASKY  is  enthusiastic  over  the  possi- 
bilities of  young  Fairbanks. 
"I  believe  that  obtaining  this  contract  is 
the  most  important  thing  I  have  done  since 
I  entered  the  motion  picture  industry,"  said 
Mr.  Lasky.  "Young  Doug  is  the  American 
boy  at  his  best.  He  is  the  sort  of  boy  I  hope 
my  boy  will  grow  to  be.  I  fell  in  love  with 
him  the  minute  I  met  him.  and  so  will  every 
American  father  and  mother  and  daughter 
and  son  when  they  see  him  on  the  screen." 

ERIC  VON  STROHEIM  is  all  broken  up. 
All  the  time  and  money  spent  to  make 
his  production  of  "McTeague"  the  greatest 
realistic  screen  drama  of  the  century,  all  the 
endeavors  and  patience  necessary  to  find  the 
original  house  in  San  Francisco  described  by 
Norris  in  his  great  novel,  all  the  search  for  the 
actual  properties — all  have  gone  for  naught. 

His  leading  man  won't  let  him  throw  bowie 
knives  at  him. 

The  English  actor  brought  over  by  von 
Stroheim  to  play  the  role  of  "McTeague" 
(which,  by  the  way,  Holbrook  Blinn  did  on  the 
screen  many  years  ago)  simply  wouldn't  stand 
up  against  a  wall  and  allow  a  vaudeville  expert 
to  outline  his  manly  form  with  bowie  knives. 
Von  Stroheim  did  it  himself.  He  pleaded. 
He  wept.  He  used  all  the  powerful  eloquence 
for  which  he  is  famous.  To  no  avail.  They 
will  be  obliged  to  register  it  in  some  other  way. 

But  von  Stroheim's  day  is  utterly  ruined. 
For  he  was  to  make  every  touch  of  his  picture 
real — real — real.  And  now,  a  mere  actor 
who  is  afraid  of  a  trifle  like  having  a  bowie 
knife  stuck  through  him  or  having  his  face 
marred  for  life,  has  destroyed  the  hopes  of 
Eric  von  Stroheim.     Such  is  the  irony  of  life. 

CPEAKING  of  expensive  productions,  the 
'-'following  yarn  is  going  the  rounds  of  the 
Boulevard.  We  don't  vouch  for  its  absolute 
authenticity,  but  it's  pretty  close  to  the  truth 
and  it  illustrates  the  spirit  of  the  times  in 
Hollywood. 

Charles  Brabin,  who  made  "Driven"  with 
his  own  money  and  managed  to  produce  a 
great  picture  at  an  amazingly  low  cost,  was 
signed  by  Goldwyn.  He  was  allowed  to 
select  his  own  story.  Then  he  was  asked  to 
figure  it  all  out — any  actors  he  wanted,  any 
sets,  any  locations,  the  best  cameramen,  the 
best  continuity  writers — everything  he  could 
dream  of  to  make  the  best  possible  picture. 

Happily,  Brabin  set  to  work.  He  finally 
went  to  Abe  Lehr,  vice-president,  and  said: 
"It'll  cost  $70,000  to  make  this  picture." 

Whereupon  the  powers  that  be  threw  up 
their  hands  in  horror  and  exclaimed  in  chorus: 
"My  dear  man,  we  can't  let  you  make  a 
picture    that    costs    only    $70,000.     This    is 


Rumor  has  it  that  Lionel  Barrymore  and  Irene  Fenwick — pronounced  Fennick, 

please — are  to  be  married  in  Rome.     They  seem  loving  enough  on  the  deck  of  the 

Paris,  just  before  sailing  from  New  York 


going  to  be  a  great,  big  Goldwyn  special — 
and  you've  got  to  spend  at  least  a  quarter  of 
a  million  on  it." 

So  poor  Brabin  is  frantically  and  unhappily 
trying  to  spend  his  allotted  portion. 

pORTER  STRONG,  for  seven  years  a  mem- 
-*-  ber  of  D.  W.  Griffith's  company,  was  found 
dead  in  his  room  in  the  Hotel  America  in  New 
York  on  June  nth,  the  victim  of  heart  failure. 
Strong  made  his  last  screen  appearance  in  the 
leading  blackface  role  of  "The  White  Rose," 
and  he  appeared  prominently  in  "One  Exciting 
Night."  He  was  forty-four  years  old  and  was 
born  in  St.  Joseph,  Mo.  Strong  came  to 
pictures  from  minstrelsy. 

/^\F  all  the  enthusiastic  bridegrooms,  Tony 
^-'Moreno  is  the  prize  winner.  "My  wife," 
said  Tony  the  other  day,  "is  the  most  wonder- 
ful woman  in  the  whole  world.  She's  the 
finest,  the  most  considerate,  the  kindest 
woman   that  ever  lived.     And  she's  such   a 


companion.  She's  got  the  most  wonderful 
mind  of  any  woman  I  ever  talked  with. 
Everybody  adores  her.  I  tell  you,  I  never 
knew  there  could  be  such  a  woman.  And  the 
way  she  wears  her  clothes  and  the  way  she 
plays  hostess — well,  there  just  never  was  any- 
body like  her  before." 

You  can't  beat  that,  can  you? 

SEENA  OWEN,  in  her  latest  picture,  "Snow 
Blind" — which,  by  the  way,  has  been  re- 
named— did  more  dangerous  flying  than  per- 
haps any  other  actress  has  ever  attempted. 
For  the  flying  was  done  in  the  Canadian 
Rockies,  in  midwinter,  with  gales  blowing  all 
the  time.  Sometimes,  when  an  especially 
sharp  pointed  peak  had  to  be  crossed,  aviator 
Casey  Jones  would  solemnly  stop  the  plane  in 
mid  air  and  ask  Miss  Owen  if  she  was  afraid. 
When  she'd  answer  no — not  too  truthfully, 
however — he  would  reach  over  and  shake 
hands  and  then  start  up  the  plane. 

[  CONTINUED  ON  PAGE  76  ] 

69 


The  Man  who  Came  Back 


A  few  months  ago  the 
Famous  Players-Lasky 
L  ompany  produced  "The 
Man  Who  Came  Back," 
a  story  which  George 
Ade  wrote  for  Thomas 
Mcighan.  Adolph  Zukor 
had  just  returned  from 
Europe.  He  saw  it  in  his 
private  projection  room, 
and  without  a  word  en- 
tered his  own  office. 
There  he  shut  himself  up 
and  sat  for  a  long  time 
looking  out  of  the  window 
over  Fifth  Avenue.  No 
one  in  his  own  office  knew 
why,  and  probably  will 
not  know  until  this  story, 
written  by  one  of  Photo- 
play's European  corre- 
spondents, appears.  And 
that  same  day  he  was 
being  denounced  before 
the  Federal  Trade  Com- 
mission as  the  head  of  a 
motion  picture  monop- 
oly. The  charge  was 
right,  but  the  monopoly 
was  one  of  brains  and 
vision  and  energy. 

James  R.  Quirk. 


MANY  have  gone 
out  from  the  little 
village  of  Riese, 
under  the  shadow 
of  Budapest,  and  some  have 
come  back.  They  went  out 
with  chains  on  their  feet,  as 
old  David,  who  sits  on  the 
sunny  side  of  the  white- 
washed wall  with  his  solitary  friends,  the  dogs.  And  they  came 
back  after  years,  as  David  did,  white  and  broken,  with  only 
a  vague  memory  of  what  lay  before  the  long  Siberian  winters. 

They  went  out  with  youth  in  their  faces  and  packs  on  their 
backs;  westward,  steerage  tickets  in  their  pockets  and  hope  in 
their  hearts,  to  the  golden  land.  These  never  came  back. 
Riese  saw  them  no  more,  and  the  little  white  village,  huddled 
against  the  soil,  forgot  these  wanderers.  Perhaps  some  white 
haired  shoemaker,  bent  over  his  toil,  kept  vigil  for  his  son,  but 
that  was  all. 

Then,  one  morning  in  April,  a  strange  thing  happened  in 
Riese.  There  was  to  be  no  train  that  day.  Everybody  knew 
that.  The  trains  came  seldom,  and  were  great  events.  But 
today,  although  there  was  to  be  no  train,  a  train  came  to  the 
little  thatched  station.  The  powerful  engine,  unlike  the  usual 
little  wheezing  locomotives,  startled  the  people.  And  there 
was  a  grand  car.     One  could  see  velvet  and  lace  inside. 

A  man  swung  down  from  the  platform  of  the  car  and  walked 
toward  the  little  circle  of  natives.  He  was  also  a  stranger, 
wearing  strange  clothing.  He  must  be  very  rich.  Perhaps  it 
was  a  president,  or  a  king. 

He  called  old  David  by  name.  He  clasped  Fedor  by  the 
hand  and  spoke  his  name  also.  They  stood  dumbly  bewildered 
and  then  a  great  light  dawned.     One  had  come  back!     From 

70 


By 
Bettina  Bedwell 


the  golden  land  over  the 
sea,  one  had  come  back. 
They  knew  him  now. 

He  walked  to  his  father's 
cottage,  which  he  had  left 
many  3'ears  before  as  a  poor 
furrier's  apprentice.  They 
all  followed  him  and  stood 
in  a  respectful  fringe  out- 
side as  he  entered.  There 
was  no  question  of  going  to 
their  tasks,  for  the  great 
thing  had  happened,  and 
they  watched  the  miracle. 
Presently  he  came  out. 
He  spoke  to  them,  and 
asked  them  all  to  assemble 
in  the  registrar's  office  the 
following  morning.  They 
arrived  at  the  appointed 
hour.  Every  man,  woman 
and  child  of  the  village 
crowded  into  the  registrar's 
office — even  old  David  who 
never  came  into  the  house. 
They  could  not  believe 
their  ears  when  the  man 
spoke.  They  were  to  say 
what  they  wanted,  and  it 
would  be  given  to  them.  Of 
course  that  was  a  dream, 
but  presently  Yzor,  who 
was  a  bold  fellow  anyhow, 
spoke.  He  would  like  five 
dollars.  They  stared  at  him 
in  horror.  Now  the  man 
would  give  them  nothing 
because  of  Yzor's  greed. 
The  man  smiled,  he  reached 
out  his  hand  and  placed  a 
bill  in  the  hand  of  Yzor. 

They  pushed  forward.   It 

was  really  true.     Someone 

else  asked  for  a  suit  of 

clothes,  eagerly,  timidly  and  the  man  nodded  assent.     Now 

there  was  one  who  wanted  a  cow.     And  sickly  old  Michael 

asked  for  a  free  railroad  ticket  to  Budapest  so  that  he  might 

be  made  well  in  the  free  hospital  there.     The  man  looked  stern 

for  a  moment,  and  perhaps  there  was  a  bit  of  moisture  in  his 

eyes.     That  fare  was  the  price  of  a  subway  ticket  in  New  York. 

Now  others  spoke  their  wishes.     A  father  wanted  to  have 

money  so  he  might  send  his  son  to  grammar  school.     Ivana 

would  like  a  present  for  her  unborn  child. 

Presently,  when  all  had  spoken,  the  man  put  his  hand  on 
David's  shoulder.  "And  you,  David?"  he  asked.  David 
blinked.  He  would  like  food  for  his  only  friends — the  dogs. 
He  explained  to  the  man  that  before  the  Siberian  days  he  had 
had  other  friends,  people,  but  now  he  could  not  remember 
who  or  where  they  were,  and  only  the  dogs  loved  him. 

And  perhaps,  if  the  man  would  be  so  kind,  chains  for  himself. 
Again  he  explained,  "  when  the  winter  is  here,  and  the  grey 
sky  comes  down  on  me,  I  must  have  chains,  for  then  I  think 
of  Siberia.  That  is  all,  mister."  The  stranger  made  an  odd 
gesture  toward  his  face,  and  said  something  in  a  low  voice  to 
David,  who  looked  happy.  Then  the  man  boarded  the  train 
and  went  away  as  suddenly  as  he  had  come,  leaving  the 
happiest  village  in  Europe  behind  him.  And  that  man  was 
Adolph  Zukor,  president  of  the  Famous  Players-Lasky  Co. 


Photoplay  Magazine — Advertising  Section 

Only  a  moment's  notice 

-  yet  she  was  proud  to  show  her  nails 
TZ>e  one  thing  you  can 

depend  on  to  remove 
that   stubborn   dry 
cuticle  quickly 

AN  unexpected  party — barely  time  to  hurry 
^^  into  another  dress  before  it  was  time  to  start. 
Did  you  have  to  hide  your  hands  with  their  ugly, 
ragged  cuticle,  in  painful  embarrassmentwhile  you 
marveled  at  some  other  woman's  bewitching  nails? 

Or  did  you,  too,  know  the  secret  of  the  wonder- 
ful Cutex  manicure?  With  Cutex  in  only  five 
minutes  you  can  transform  the  most  neglected 
nails  into  gleaming  things  of  loveliness  that  add 
so  much  charm  to  the  whole  appearance. 

No  matter  how  you  file,  clean  and  polish  your 
nails  they  will  not  look  attractive  if  you  have  hard 
ridges  of  cuticle  drawn  tight  on  the  nails  or  split- 
ting ofFin  shreds. 

With  Cutex  you  will  have  in  the  briefest  possi- 
ble time  a  soft  even  nail  rim  and  no  surplus  cuticle, 
without  any  dangerous  cutting  at  all.  Just  dip  the 
end  of  a  Cutex  orange  stick  wrapped  in  cotton 
into  the  Cutex  Remover  and  then  press  back  the 
cuticle  around  each  nail.  Work  the  orange  stick, 
still  wet  with  Cutex,  underneath  the  nail  tips  to 
clean  and  bleach  them.  Rinse  the  fingers  and  like 
magic  all  the  surplus  cuticle  will  wipe  away,  leav- 
ing a  soft  and  unbroken  rim  framing  the  nail 
evenly.  Your  nail  tips  too,  are  infinitely  improved, 
white  and  stainless. 

Then  to  have  a  lasting  brilliance  instantly 

Of  course,  a  jewel-like  polish  is  the  necessary  finishing 
touch  for  lovely  nails.  With  Cutex  you  can  have  even 
this  at  a  moment's  notice.  For  they  have  recently  de- 
veloped two  marvelous  new  polishes. 

The  new  Cutex  Liquid  Polish  spreads  smooth  and  thin 
on  the  nails.  It  dries  instantly,  leaving  a  lovely  even  bril- 
liance that  lasts  a  whole  week.  When  you  are  ready  for 
a  fresh  polish,  no  separate  remover  is  necessary.  Just 


7* 


Photo  by  Edward  Thayer  Monroe 

Famous  for  her  lovely  hands — Mary  Nash  says:  "I  don't  see 
how  I  ever  tolerated  having  my  cuticle  cut.  Cutex  is  so  easy  to 
use,  and  my  nails  look  so  much  better." 


spread  a  drop  of  the  polish  itself  on  the  nail,  and  wipe 
it  off.  And  if  you  prefer  a  Cake,  Powder  or  Paste  Polish 
you  will  find  it,  too,  in  Cutex. 

Cutex  manicure  sets  containing  everything  for  the 
nicest  manicure  come  in  four  sizes  for  60c,  $1.00,  $1.50 
and  $3.00.  Or  each  article  separately  is  35c.  At  all  drug 
and  department  stores  in  the  United  States  and  Can- 
ada and  chemist  shops  in  England. 

Introductory  offer — now  only  12c 

Fill  out  this  coupon  and  mail  it  with  12c  in  coin  or 
stamps  for  the  Introductory  Set  containing  samples  of 
Cutex  Cuticle  Remover,  Powder  Polish,  Liquid  Polish, 
Cuticle  Cream  (Cuticle  Comfort),  Cutex  emery  board 
and  orange  stick.  Address,  Northam  Warren,  Dept.  Q-8, 
114  West  1 7th  St.,  New  York,  or  if  you  live  in  Canada, 
Dept.  Q-8,  200  Mountain  St.,  Montreal,  Canada. 

MAIL  THIS   COUPON   WITH    I  2C  TODAY 


Cutex    In- 
troductory Set  for  your 
dressing  table 


Northam  Warren,  Dept.  Q-8,   114  West  17th  St.,  New  York 

I  enclose  12c  in  stamps  or  coin  for  new  introductory  set  con- 
taining enough  Cutex  for  six  manicures. 


Name 

Street 

City State. 


When  you  write  ii>  advertisers  1  lease  mention  riiOToi'l.AY  MAGAZINE. 


The  PHOTOPLAY  MEDAL  of  HONOR 

FOR  THE  BEST  PICTURE  RELEASED  DURING  THE  YEAR  1922 


Reverse  side  of  Medal  as  presented 
for  "Humoresque"  (reduced) 


Reverse  side  of  Medal  as  presented 
for  "Tol'able  David"  (reduced) 


The  Photoplay  Medal  of  Honor 


WHAT  WAS  THE  BEST  PICTURE  OF  1922? 


VOTING  for  the  third  Photoplay 
Magazine   Medal   of   Honor,   for 
the  best  picture  of  1922,  is  now 
open.     The    Medal    of    Honor    is    now 
recognized  as  the  mark  of  supreme  dis- 
tinction in  the  world  of  the  photoplay. 

The  first  Photoplay  Magazine  Medal 
of  Honor,  for  1920,  was  awarded  to 
William  Randolph  Hearst,  whose  Cos- 
mopolitan Production  of  "Humoresque" 
was  voted  the  most  distinguished  photo- 
play of  that  year.  The  second  Photo- 
play Medal  of  Honor,  for  1921,  went  to 
the  Inspiration  Pictures,  Inc.,  production 
of  "Tol'able  David,"  starring  Richard 
Barthelmess. 

Photoplay  Magazine  wishes  to  repeat 
that  the  Medal  is  the  first  annual  com- 
memoration of  distinction  in  the  making 
of  motion  pictures  and  to  again  indicate 
that  the  award  should  go  to  the  photoplay 
coming  nearest  to  a  perfect  combination 
of  theme,  story,  direction,  acting,  con- 
tinuity, setting  and  photography.  As 
before,  the  honor  is  wholly  in  the  hands 
of  Photoplay  Magazine  readers,  who, 


through  their  letters  or  votes,  are  sole 
judges. 

As  in  the  previous  two  years,  the  voting 
is  delayed  six  months  after  the  closing  of 
the  year  so  that  pictures  released  at  the 
end  of  the  year  may  have  an  opportunity 
to  be  seen  in  all  parts  of  the  country. 

Below  will  be  found  a  list  of  fifty  pic- 
tures, carefully  selected  and  considered. 
Your  choice  of  the  best  picture  made  in 
1922  will  probably  be  there.  If,  however, 
it  is  not,  you  may  vote  for  it,  first  making 
sure  that  it  was  released  during  1922. 

Photoplay  takes  special  pride  in  its 
readers'  awards  for  the  years  1920  and 
1921.  Both  "Humoresque"  and  "Tol- 
'able David"  were  productions  of  signal 
merit  and  both  had  splendid  thoughts 
behind  them,  one  being  a  moving  epic  of 
mother-love  and  the  other  presenting 
the  spiritual  development  of  American 
boyhood  into  manhood. 

The  Photoplay  Medal  of  Honor  is  a 
thing  of  distinct  beauty.  It  is  of  solid 
gold,  weighing  \2ix/i  pennyweights,  and 
is  two  and  a  half  inches  in  diameter.     It 


is  being  executed,  as  were  the  Medals  of 
1920  and  1921,  by  Tiffany  and  Company 
of  New  York. 

Fill  out  the  coupon  on  this  page,  and 
mail  it,  naming  the  photoplay  which, 
after  honest  and  careful  consideration, 
you  consider-  the  best  picture  of  1922. 
Or  you  may  send  a  brief  letter  voting  for 
your  favorite.  This  announcement,  with 
its  coupons,  will  appear  in  one  more  issue, 
having  started  with  the  July  number.  All 
votes  and  voting  letters  should  be  ad- 
dressed to  the  Photoplay  Medal  of 
Honor  Ballot  and  must  be  received  at 
Photoplay's  editorial  offices,  221  West 
57th  Street,  New  York  City,  not  later 
than  October  1st,  1923. 

Do  your  duty!  You  want  better  pic- 
tures. Here  is  your  opportunity  to  honor 
the  best  in  motion  pictures  and  at  the 
same  time  encourage  producers  to  put 
vision,  faith  and  organization  behind 
their  efforts. 

Mail  your  letter  or  suggestion  NOW, 
or  fill  out  coupon  below. 

In  case  of  a  tie,  equal  awards  will  be 
made  to  each  one  of  the  winners. 


SEND   YOUR  VOTE  AND  ENCOURAGE  GOOD  PICTURES 


Suggested  List  of  Best  Photoplays  of  1922: 


Beautiful  and  Damned 

Blood  and  Hand 

Bond  Boy 

Clarence 

Cradle  Buster 

Dangerous  Age 

Dictator 

Doctor  Jack 

Doubling  for  Romeo 

East  Is  West 

Eternal  Flame 

Flirt 

Foolish  Wives 

Forever 

Hero 

His  Back  Against  the  Wall 

Hottentot 

72 


Human  Hearts 
Hungry  Hearts 
Hurricane' s  Gal 
Lorna  Doone 
Loves  of  Pharaoh 
Manslaughter 
Man  Who  Played  God 
Miss  Lulu  Bell 
Monte  Crislo 
Nanook  of  the  North 
Nice  People 
Old  Homestead 
Oliver  Twist 
One  Exciting  Night 
One  Glorious  Day 
Our  Leading  Citizen 
Peg  o'  My  Heart 


Pen  rod  < 

Poor  Men's  Wives 
Prisoner  of  Zenda 
Quincy  Adams  Sawyer 
Robin  Hood 
Sin  Flood 
Slim  Shoulders 
Smilin'  Through 
Sonny 
Storm 

Tailor  Made  Man 
Tess  of  the  Storm  Country 
Timothy  s  Quest 
To  Have  and  To  Hold 
Trifling  Women 
When  Knighthood  Was  in 
Flower 


Photoplay  Medal  of  Honor  Ballot 

EDITOR  PHOTOPLAY  MAGAZINE 

22t  W.  57th  Street,  New  York  City 

In  my  opinion  the  picture  named  below 
is  the  best  motion  picture  production  re- 
leased in  1922. 


NAME  OF  PICTURE 


Name- 


Address- 


Photoplay  Magazine — Advertising  Section 


73 


They  need  not  fade  or  yellow— washed 
this  way  your  pretty  blouses  keep  their  color 


They  were  the  very  last  word  in  chic — 
your  jacket  blouse  of  demure  printed 
crepe,  that  breezy  slip-on  model  that  went 
with  you  round  the  golf  course,  to  say 
nothing  of  your  costume  blouse  so  rich  in 
color! 

And  then — they  had  their  very  first 
laundering.  Out  they  came  a  sorry, 
bedraggled  sight.  Colors  streaked  and 
faded,  yellowed  beyond  all  hope  of  sal- 
vaging. 

Just  one  careless  laundering  can  make 
any  blouse  lose  its  nice  new  look. 

Don't  let  your  pretty  new  blouses  turn 
into  old  ones.  Wash  them  with  Lux. 
Follow  the  directions  on  this  page — 
directions  recommended  by  the  maker  of 
more  than  a  million  blouses. 


Cut  out  this  page  and  keep  it.  You  will 
find  you  want  to  refer  to  it  all  the  time. 

No  color  too  brilliant — no  weave 
too  frail 

Colors  that  used  to  seem  too  difficult  to 
launder,  brilliant  all-over  patterns,  even 
these  are  safe  in  Lux  suds. 

Lovely  weaves  — not  to  be  resisted — come 
from  these  feathery  suds  with  never  a 
fragile  thread  fuzzed  up  or  broken. 

Not  once  but  any  number  of  times 
you  can  wash  your  pretty  blouses 
with  Lux  without  fear  of  harm  to 
their  freshness  and  color.  Lux  won't 
fade  or  streak  them;  it  won't  de- 
stroy the  luster  of  beautiful  silken 
fabrics  or  harm  the  soft  finish  of 
fine  cottons.  If  your  blouse  is  safe  in 
wateralone  it  is  just  assafe  in  Lux, 


How  to  keep  blouses  from  fading 

Make  sure  that  pure  water  alone  will  not 
harm  your  blouse. 

Whisk  one  tablespoonful  of  Lux  into  a  thick 
lather  in  half  a  washbowl  of  very  hot  water. 
Add  cold  water  till  lukewarm.  Press  suds  re- 
peatedly through  garment.  Use  fresh  suds 
for  each  color.  Wash  very  quickly.  Rinse  in 
3  lukewarm  waters.  Squeeze  water  out — do 
not  wring.  Roll  in  towel.  When  nearly  dry, 
press  with  a  warm  iron  —  never  a  hot  one. 
Be  careful  to  press  satins  with  the  nap. 


For  their  own  protection — they  recommend  Lux 


Belding  Bros.  &  Co.  Silks 
Mallinson  Silks 
Roessel  Silks 
Skinner  Satins 
Forsythe  Blouses 
Vanity  Fair  Silk  Under- 
wear 
Dove  Under-garments 
Model  Brassieres 


McCallum  Hosiery 
"Onyx"  Hosiery 
McCutcheon  Linens 
D.&J.AndersonGinghams 
Betty  Wales  Dresses 
Mildred  Louise  Dresses 
Pacific  Mills  Printed 

Cottons 
North  Star  Blankets 


Ascher's  Knit 

Goods 
Carter's  Knit 

Underwear 
Jaeger  Woolens 
The  Fleisher  Yarns 
Orinoka  Guaranteed 

Sunfast  Draperies 
Puritan  Mills  Draperies 


Send  today  for  free  booklet  of  expert  laundering  advice,  "How  to  Launder  Silks, 
Woolens,  Fine  Cottons  and  Linens."  Lever  Bros.  Co.,  Dept.  98,  Cambridge,  Mass. 


The  new  way 

to  wash  dishes 
Won't  roughen  hands 

Lux  for  washing  dishes  t  At  las  ryou  can 
wash  thern  without  coarsening  your  hands. 
Even  though  they  are  in  the  dishpan  an  hour 
and  a  half  every  day,  Lux  won't  harm  them. 
It  is  as  easy  on  your  hands  as  fine  toilet  soap. 
Just  one  teaspoonful  to  apart  is  all  you 
need !  A  sin  pie  package  does  at  least  54  dish* 
washings.     Try  it. 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


"  Y\^ILL  Mae  Marsh  Come  Back? "  Photoplay  asked  some  months  ago,  when  she  returned 
to  work  under  the  direction  of  David  W.  Griffith.  Mae  answered  the  question  with  one 
of  the  greatest  come-backs  of  picture  history  in  "The  White  Rose,"  in  which  she  does  the 
greatest  work  of  her  screen  career.  Here  is  her  latest  photograph,  taken  in  a  "One  Hour 
Dress,"  made  by  herself  in  less  than  sixty  minutes  from  a  design  by  Mary  Brooks  Picken. 


14 


Photoplay  Magazine — Advertising 


a 


I  am  sorry 
for  that  rose" 

THEY  had  been  walking  in  the 
garden — a  riot  of  color — in  the 
lazy  hush  of  a  summer  day.  Suddenly 
the  man  bent  over  a  bush  of  roses,  ex- 
quisite in  their  hue  of  delicate  pink.  At 
each  in  turn  he  looked,  turning  upward 
the  little  blushing  faces,  till  at  last  he 
found  the  most  perfect  of  them  all. 

The  girl  stood  watching  him,  wonder- 
ing at  his  careful  scrutiny.  The  man  cut 
the  rose  and  gave  it  to  her.  She  took  it 
laughingly  and  pinned  it  in  her  hair, 
close  to  her  glowing  cheek.  He  caught 
his  breath  as  he  looked  at  her,  then  at 
the  rose  and  back  again  to  the  softly 
flushing  beauty  of  her  face. 

"  Do  you  know,"  he  said, "  I  am  sorry 
for  that  rose — it  must  be  so  unhappy." 

"But  why?"  she  asked,  not  under- 
standing what  he  meant.  He  smiled  at 
her  with  loving  tenderness. 

"Because  it  suffers  by  comparison." 


Laughingly  she  pinned  it  in  her  hair 


*? 


Don't  Envy  Beauty — Use  Pompeian" 


To  obtain  Instant  Beauty  use  the 
three  preparations  of  the  Pompeian 
Beauty  Trio  together.  For  greatest 
care  has  been  used  in  harmonizing 
all  the  Pompeian  preparations,  that 
they  may  give  the  most  natural  effect. 

Day  Cream  is  a  vanishing  cream 
that  is  absorbed  by  the  skin  and  will 
not  reappear  in  an  unpleasant  gloss. 
It  makes  a  foundation  for  powder  and 
rouge  on  which  they  will  stay  unusu- 
ally long;  softens  the  skin  and  pro- 
tects it  against  sun,  wind,  and  dust. 

The  Beauty  Powder  is  so  soft  and 
fine  that  it  goes  on  smoothly  and 
evenly.  It  adheres  so  well  that  fre- 
quent repowdering  is  unnecessary. 

Pompeian  Bloom,  a  rouge  which  is 
absolutely  harmless,  comes  in  all  the 
required  shades — light,  medium,  dark 
and  orange  tint.  It  will  not  crumble, 
yet  comes  off  easily  on  the  puff. 

Remember:  first,  Day  Cream,  next 
the  Beauty  Powder,  then  a  touch  of 
Bloom,  and  over  all  another  light 
coating  of  the  Powder. 

Pompeian  Lip  Stick  adds  another 
little  touch  to  the  toilette,  that  is  both 


effective  and  beneficial.  It  deepens 
the  natural  color  of  the  lips  and  pre- 
vents their  chapping. 

Pompeian  Day  Cream  {vanishing) 

6oc  per  jar 
Pompeian  Beauty  Powder  6oc  per  box 
Pompeian  Bloom  (the  rouge)    6oc  per  box 


Pompeian  Lip  Stick 
Pompeian  Fragrance 
Pompeian  Night  Cream 
(New  style  jar) 


25c  each 

30c  a  can 

60c  per  jar 


The  MARY  PICKFORD  Panel 

and  four  Pompeian  samples  sent 
to  you  for  10  cents 

Mary  Pickford,  the  world's  most  adored 
woman,  has  again  honored  Pompeian  Beauty 
Preparations  by  granting  the  exclusive  use  of 
her  portrait  for  the  new  1923  Pompeian  Beauty 
Panel.  The  beauty  and  charm  of  Miss  Pickford 
are  faithfully  portrayed  in  the  dainty  colors  of 
this  panel.   Size  28  x  7^  inches. 

For  JO  cents  we  will  send  you  all  of  these: 

1.  The  1923  Mary  Pickford  Pompeian  Beauty 
Panel  as  described  above.  (Would  cost  from 
50c  to  75c  in  an  art  store.) 

2.  Sample  of  Pompeian  Day  Cream  (vanishing). 

3.  Sample  of  Pompeian  Beauty  Powder. 

4.  Sample  of  Pompeian  Bloom  (non-hreaking 
rouge). 

5.  Sample  of  Pompeian  Night  Cream. 


Pompeian    Laboratories,    2131    Payne    Avenue,    Cleveland,   Ohio 
Also  Made  in  Canada 

f)oMpeiar) 

bay  (rearo    Beauty  Powder    BIoom 


75 


zAre  You  J^ooking 

Forward  to  Social 

^Activities  This  Fall? 

By  Mme.  Jeannette 

If  your  summer,  out-of-doors,  has  made 
your  skin  too  hard,  or  too  dry,  or  too 
rough,  then  your  skin  is  in  an  unnatural 
condition  and  must  be  treated.  The 
science  of  dermatology  has  never  pro- 
duced a  more  satisfying  product  for  these 
conditions  than  Pompeian  Night  Cream. 
It  is  absolutely  pure,  and  supplies  an  oily 
substance  to  the  skin  that  is  adequate  till 
your  care  brings  back  the  activity  of  the 
natural  oil  secretion.  I  say  "your"  care 
advisedly,  for  even  a  professional  derma- 
tologist can  treat  you  only  when  you  visit 
his  office,  and  to  bring  the  skin  back  to 
normal  requires  constant  attention  at 
your  own  dressing  table. 

A  Dry  Skin  Soon  IVriitkles 

Just  as  healthy  hair  must  have  a  cer- 
tain amount  of  oil  in  it,  so  healthy  and 
youthful-looking  skins  must  have  their 
quota  of  oil.  And  if  your  skin  hasn't  suf- 
ficient oil,  then  you  must  supply  it;  for, 
like  flower  petals,  a  dry  skin  wrinkles 
quickly.  The  skin  requires  extra  cream  at 
the  end  of  summer.  The  wind  and  the  sun 
and  the  very  outdoor  air  itself  absorb  a 
certain  supply  of  oil  from  the  skin.  This 
must  be  replenished  before  the  skin  func- 
tions naturally  again,  and  the  complexion 
is  restored  to  the  appearance  of  health  and 
beauty. 

If  your  skin  is  exceptionally  dry,  you 
will  like  the  efficiency  of  this  cream  at 
other  times  than  before  retiring,  always 
being  careful  to  remove  the  superfluous 
cream  before  applying  any  other  creams  or 
powder.  But  its  truest  value  comes  when  it 
is  applied  at  night  with  a  gentle  rotary 
massage  to  stimulate  circulation,  and 
when  enough  is  left  on  the  skin  for  all  the 
hours  of  night  to  nourish  the  drying 
under-skin. 

Powder  and  Rouge 
for  Tanned  Skins 

Remember  to  use  a  darker  shade  of 
Powder  and  of  Rouge  when  your  skin  is 
darkened  by  exposure  of  any  kind.  These 
darker  shades  tone  in  with  your  tan  or 
burn  and  enable  you  to  make  a  charming 
appearance  even  if  you  are  two  or  three 
shades  darker  than  normal. 


^t(U^&tiL 


Specialiste  en  Beaute 


TEAR     OFF,     SIGN     AND     SEND 


POMPEIAN  LABORATORIES 

2131    Payne  Avenue,  Cleveland,  Ohio 

Gentlemen:  I  enclose  ioc  (a  dime  preferred)  for 
1923  Art  Panel  of  Mary  Pickford,  and  the  four 
samples  named  in  offer. 


;        Nan 


Addr 


City. 


_Stat< 


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Edward  Griffith,  director,  tells  that  the 
stars  of  the  picture — Miss  Owen  and  Lionel 
Barrymore — wore  instructions  strapped  to 
their  knees,  while  in  the  aeroplane,  outlining 
the  action.  The  camera,  fastened  to  one  of 
the  wings,  was  worked  by  a  motor.  And  the 
'plane,  itself,  was  on  skis,  as  the  landings  had 
to  be  made  on  a  frozen  lake. 

"VDU  can't  keep  a  good  wife  down.  Two 
•*■  male  screen  stars  have  had  the  peculiar 
experience  this  month  of  seeing  their  quiet 
and  retiring  little  wives  suddenly  emerge  and 
grab  off  a  lot  of  screen  honors.  Mabel  Wash- 
burn— who  in  private  life  is  Mrs.  Bryant 
Washburn  and  mother  of  Sonny  and  Buddy 
Washburn — has  been  signed  to  a  long-term 
contract  by  a  new  concern  which  is  also  to 
star  her  husband  and  Elliott  Dexter.  She  has 
just  completed  a  picture  with  her  husband, 
and  also  played  opposite  him  in  a  vaudeville 
sketch.  The  other  successful  wife  is  Mrs. 
Tom  Moore,  whose  stage  name  is  Rene 
Adoree.  This  little  French  girl  has  been 
signed  for  five  years  by  Louis  B.  Mayer,  and 
is  to  be  featured  in  dramatic  productions. 

•""'HOST  stories  are  rare  these  days,  but  a 
^-"real  ghost  story  has  caused  a  lot  of  in- 
convenience to  Douglas  MacLean  and  his 
charming  young  wife.  In  fact,  'tis  said,  this 
ghost  story  caused  them  to  rush  their  plans 
for  building  and  leave  their  Los  Angeles  home 
for  the  unhaunted  precincts  of  Beverly  Hills. 

Mr.  and  Mrs.  MacLean  occupied  an  adjoin- 
ing court-bungalow  to  that  of  William  D. 
Taylor,  who  was  mysteriously  murdered. 
Recently,  Mrs.  MacLean  began  losing  her 
colored  servants.  First  one  and  then  another 
would  leave,  without  apparent  cause.  Finally, 
it  was  discovered  that  all  of  them  claimed  that 
at  exactly  the  hour  of  Taylor's  death  every 
evening,  they  saw  a  ghost  hovering — a  white 
and  appealing  ghost, — about  the  Taylor 
bungalow,  and  that  finally  it  would  drift  in 
the  direction  of  the  MacLean  household. 
Douglas  did  his  best  to  locate  the  spook,  but 
without  success,  so  the  MacLeans  moved. 

YOU  hear  more  foreign  languages  spoken  in 
Hollywood  these  days  than  in  Port  Said 
or  Constantinople.  Society  is  taking  on  a 
real  international  tone.  Every  country  is 
represented. 

From  Sweden  we  have  director  Victor 
Seastrom,  making  "The  Master  of -Man." 
Also  Sigrid  Holmquist  and  the  Swedish 
matinee  idol,  Eosta  Ekman. 


Here  is  the  latest  marital  combination  of 
career  and  finance — Katherine  Mac- 
Donald,  the  screen  star,  and  her  new 
husband,  Charles  F.  Johnson,  Phila- 
delphia millionaire.  They  are  either 
trying  to  hypnotize  each  other  or  are 
gazing  soulfully  while  on  their  honey- 
moon at  Atlantic  City 


[  CONTINUED  FROM  PAGE  60  ] 

"Was  I  scared?"  she  answered,  when  ques- 
tioned. "I  should  say  I  was.  It  was  my 
mittens  that  worried  me  most!  I  had  a 
special  pair  of  mittens  that  I  had  to  draw  on 
over  my  gloves  in  certain  scenes.  I  kept  the 
mittens  tucked  in  my  belt,  when  we  were 
flying.  And  whenever  we'd  strike  a  bit  of 
wind  I'd  get  panic  stricken  for  fear  my  mittens 
would  blow  out  of  my  belt  and  get  caught 
in  the  propeller  and  wreck  the  plane.  I  never 
want  to  go  up  in  a  plane  again !" 


Florence  Eldridge,  who  has  been  a  posi- 
tive joy  on  the  speaking  stage  for  sen  ral 
seasons,  has  heard  the  call  of  the  camera, 
and  will  be  seen  in  "Six  Cylinder  Love." 
She  is  getting  a  few  pointers  on  some 
phases  of  her  new  career  from  director 
Elmer  Clifton 

76 


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Mexico  has  provided  the  sensation  of  the 
hour  in  Ramon  Novarro  playing  the  title  role 
in   Rex  Ingram's  "Scaramouche." 

Charles  de  Roche  plays  Rameses  II  of 
Egypt  with  a  French  accent  in  de  Mille's 
"The  Ten  Commandments." 

"The  Spanish  Dance"  has  the  Polish  Pola, 
the  Spanish  Moreno,  and  that  Irish  director, 
Herbert  Brenon. 

On  Mary  Pickford's  set  you  hear  Ernst 
Lubitsch  bursting  into* German;  Svende  Gade, 
the  art  director,  using  Swedish;  and  Edward 
Knoblauch,  the  author,  intoning  in  real  London 
English. 

The  dashing  Viennese,  Joseph  Schildkraut, 
has  arrived  to  play  in  "The  Master  of  Man." 

The  Russian  Alia  is  with  us  again,  planning 
production  of  "The  White  Moth,"  and  her 
countryman,  Theodore  Kosloff,  is  to  be 
starred  shortly  by  Lasky.  I  hear. 

Anna  May  Wong  continues  to  represent 
China  effectively. 

And  there  are  also  several  Americans. 

NORMA  TALMADGE  christened  her  new 
swimming  pool  the  other  evening.  The 
party  included  May  Allison,  Fred  Thomson 
and  Frances  Marion,  Ethel  Gray  Terry  and 
her  husband,  Mr.  and  Mrs.  Niles  Welch, 
William  Rhinelander  Stewart,  sister  Con- 
stance Talmadge,  and  Mr.  and  Mrs.  Buster 
Keaton,     (Natalie  Talmadge). 

And,  by  the  way,  it  really  looks  as  though 
there  might  be  something  in  this  latest  tale 
of  Connie's  engagement  to  young  Stewart. 
Of  course,  Constance  declares  airily  that  the 
young  New  York  sportsman  and  millionaire 
is  only  out  here  "on  business."  But  her 
friends  seem  to  think  that  Stewart  has  a  good 
chance  of  winning  the  beautiful  youngest 
Talmadge. 

MONEY  is  certainly  no  object  in  Holly- 
wood these  days.  If  it's  true  that  the 
more  money  spent  on  a  picture  the  better  the 
picture  is,  we  are  due  for  some  great  pictures. 


Here  wc  have  Rex  Ingram's  "Scaramouche" — 
already  past  the  half  million  mark;  Norma 
Talmadge's  great  costume  spectacle,  "Purple 
Pride, "  which  touched  $700,000;  "The  Hunch- 
backof  Notre  Dame, "  for  whichone  set  alone  cost 
$100,000  and  the  total  cost  of  which  will  hit 
the  half  million  mark  easily;  Eric  von  Stroheim, 
setting  a  pace  as  usual,  has  gone  many  hun- 
dreds of  thousands  deep  for  "McTeague"; 
Warner  Brothers  will  spend  three-quarters  of 
a  million  on  "Tiger  Rose";  Mary  Pickford's 
"The  Street  Singer"  is  one  of  the  most  expen- 
sive productions  ever  filmed;  and  Douglas 
promises  to  spend  more  on  "The  Thief  of 
Bagdad"  than  he  did  on  "Robin  Hood." 

I  HAPPENED  the  other  evening  to  sit  next 
to  Lubitsch,  the  great  European  director,  at 
a  performance  of  the  all-negro  revue,  "Shuffle 
Along,"  at  the  Mason  Opera  House  in  Los 
Angeles.  It's  easy  to  understand  now  wh^ 
this  dark,  plain  little  man  can  make  such  films 
as  "Passion,"  and  "The  Street  Singer."  It 
was  a  new  sensation  to  him  and  he  was  enjoy- 
ing it  to  the  full.  There  was  never  a  flash 
of  boredom  on  his  face.  He  was  as  eager,  as 
interested,  as  pleased  as  a  child  in  the  theater 
for  the  first  time.  He  responded  instantly  and 
completely  to  the  humor,  much  of  which  he 
couldn't  understand  in  words.  His  eyes 
snapped  with  excitement  over  the  dancing  and 
he  quite  openly  had  the  time  of  his  life  with 
the  jazz  music. 

DRASTIC  changes  in  the  year's  schedule  of 
Famous-Players-Lasky  have  resulted  from 
the  recent  sales-production  conference  in 
Hollywood.  Instead  of  eighty  pictures,  the 
company  will  make  fifty-two — to  release  once 
a  week.  No  reduction  is  to  be  made  in  the 
working  forces  of  the  studio,  however,  Mr. 
Lasky's  idea  being  to  put  more  time,  work  and 
money  into  the  individual  productions.  Only 
three  stars  are  to  be  retained  by  the  company — ■ 
Pola  Negri,  Gloria  Swanson  and  Thomas 
Meighan.     All    other    contract    players,    in- 


cluding Bel'C  Daniels,  Agnes  Ayres,  Jack  Holt, 
Richard  Dix,  Walter  Hiers,  Antonio  Moreno, 
and  Leatrice  Joy,  are  to  be  featured  or  used  in 
all-star  casts. 

PRANCES  MARION  is  to  direct  Norma 
•*-  Talmadge  in  her  next  picture.  This  ought 
to  be  a  great  combination.  Miss  Marion  is 
the  highest-priced  and  best-known  scenario- 
writer  in  the  motion  picture  industry,  and  she 
has  written  the  scripts  for  several  of  Norma's 
last  stories.  She  has  directed  Mary  Pickford 
and  wrote  the  stories  for  most  of  her  first  big 
successes.  A  woman  director  is  always  an 
experiment,  but  Norma  and  Frances  have  a 
lot  of  ideas  about  what  they  can  do  and  Norma 
believes  it  will  bring  out  a  lot  of  big  things  in 
her  work. 

"DRANK  LLOYD  was  busily  directing 
-L  Norma  Talmadge  in  a  big  scene  from 
"Purple  Pride,"  when  a  visitor  said  to  him: 
"Isn't  it  wonderful  to  make  costume  pictures, 
Mr.  Lloyd?    They're  so  different." 

"They  certainly  are,"  said  Mr.  Lloyd,  "if 
there  had  been  a  telephone  in  this  picture  it'd 
be  all  over  in  the  first  reel." 

And,  incidentally,  that  was  the  day  that 
the  stately  Norma,  very  gorgeous  in  her 
French  court  costume,  had  the  embarrassing 
experience  on  the  set  that,  they  say,  happens 
to  every  woman  at  least  once  in  her  life.  She 
lost  her  petticoat.  And  as  the  frock  was  of 
chiffon  and  fur,  and  there  was  but  one  petti- 
coat, Norma  had  to  grab  a  cloak  from  an  extra 
man  and  rush  for  her  dressing  room. 

FRED  NIBLO  and  Enid  Bennett  do  give  the 
grandest  parties!  (They're  married  to  each 
other  you  know.)  Of  course  they  have  that 
wonderful  billiard  and  dance  room  on  the 
third  floor  of  their  Beverly  Hills  house,  but, 
anyway,  they  are  the  most  charming  host  and 
hostess  in  the  film  colony. 

The  other  evening  they  gave  a  supper  dance 

[  CONTINUED  ON  PAGE  84  ] 


Bill  Hart 
Vindicated 


BILL  HART  has  been  vindicated  and  is 
coming  back  to  motion  pictures! 
Some  months  ago  sensational  charges 
were  made  against  the  Western  star  by  Miss 
Elizabeth  MacCaulley,  alleging  that  Hart  was 
the  father  of  her  child.  Late  in  May  Miss 
MacCaulley  admitted  that  the  charge  was 
fal-e,  making  a  signed  statement  to  that  effect. 
Hart  was  to  have  returned  to  motion 
pictures  this  spring,  but,  upon  the  appearance 
of  the  charge,  he  refused  to  consider  a  film 
contract.  This,  too,  in  spite  of  the  fact  that 
Jesse  Lasky,  who  had  made  the  offer,  was  firm 
in  his  belief  of  the  star's  complete  innocence. 
Now,  however,  the  sky  has  cleared — and  the 
first  return-to-the-screcn  production  of  William 


S.  Hart  may  be  expected  at  any  moment.  Mr. 
Lasky  made  an  interesting  statement  in  ex- 
plaining his  overtures  with  Mr.  Hart  in  the 
face  of  the  MacCaulley  charges. 

"I  knew  no  one  believed  the  charges  against 
him  and  I  strove  to  convince  him  this  was  so. 
But  Mr.  Hart,  splendid  man  that  he  is,  and 
supersensitive,  refused  to  return  to  the  screen 
until  there  remained  no  shadow  of  doubt  as  to 
his  innocence  in  the  mind  of  a  single  person  in 
the  whole  world.  He  possesses  strong  convic- 
tions upon  the  necessity  of  keeping  faith  with 
the  public.  He  resolutely  refused  to  return 
unless  he  could  share  his  old  time  sense  of 
comradeship  with  those  he  worked  so  hard  to 
entertain.    Mr.  Hart  said  to  me,  'I  will  never 


accept  a  dollar  of  the  public's  money  until  I 
have  convinced  them  that  I  am  worthy  to 
receive  it.  I  want  to  be  able  to  look  out  from 
the  screen  and  meet  every  man,  woman  and 
child  eye  to  eye.  Until  then  I  shall  remain  out- 
side the  profession  I  love  and  to  which  I  might 
have  returned  if  it  had  not  been  for  this  terrible 
accusation.'  " 

And  Mr.  Lasky  continued,  "Those  who 
knew  him  well  have  believed  him  guiltless. 
My  personal  happiness  that  the  charges  have 
been  proven  groundless  will  be  shared  by  hun- 
dreds of  thousands." 

The  legion  of  Hart  followers  doubtless  will 
echo  Mr.  Lasky's  statement. 

Bill  Hart  is  coming  back — vindicated! 


78 


Palm  and  Olive  Oils 
— nothing  else — give 
nature's  green  color 
to    Palmolive    Soap 


V. 


Beauty  That  Lures 


Often  you  meet  a  woman  with  vivid 
beauty  that  exerts  an  irresistible  charm. 
It  doesn't  depend  upon  regularity  of  fea- 
tures, or  the  color  of  eyes  and  hair.  A 
smooth,  fresh,  flawlessskin — a  complexion 
glowing  with  the  radiance  of  health  and 
free  from  imperfections — this  is  the 
secret  of  alluring  attraction. 

Cleopatra  had  it,  and  her  name  will 
always  be  the  symbol  of  all-conquering 
beauty.  She  perfected  this  beauty,  and 
kept  it  in  this  perfection  in  a  simple, 
natural  way  which  history  has  handed 
down  for  modern  women. 

How  She  Did  It 

By  thorough,  gentle,  daily  cleansing 
which  kept  the  texture  of  her  skin  firm, 
fine-grained  and  smooth.  Dirt,  oil  and 
perspiration  were  never  allowed  to  col- 
lect, to  enlarge  and  irritate  the  tiny  skin 
pores.  The  lavish  use  of  cosmetics  prac- 
ticed by  all  ancient  women  did  her  no 
harm,  because  every  day  she  carefully 
washed  them  away. 

Her  secret — palm  and  olive  oils,  valued 
as  both  cleansers  and  cosmetics  in  the 
days  of  ancient  Egypt.  The  crude  combi- 
nation which  served  the  great  queen  so 
well  was  the  inspiration  for  our  modern 
Palmolive. 

Bedtime  is  Best 
Your  daily  cleansing  is  best  done 


at  night,  so  your  complexion  may  be  re- 
vived and  refreshed  during  sleep.  The  re- 
mains of  rouge  and  powder,  the  accumu- 
lations of  dirt  and  natural  skin  oil,  the 
traces  of  cold  cream  should  always  be 
removed. 

So,  just  before  retiring,  wash  your  face 
in  the  smooth,  mild  Palmolive  lather. 
Massage  it  gently  into  the  skin.  Rinse 
thoroughly  and  dry  with  a  soft  towel. 

In  the  morning  refresh  yourself  with  a 
dash  of  cold  water  and  then  let  your  mir- 
ror tell  the  story.  Charming  freshness 
and  natural  roses  will  smile  back  at  you. 

Once  Costly  Luxuries 

When  Cleopatra  kept  her  loveliness 
fresh  and  radiant  by  using  Palm  and 
Olive  oils,  they  were  expensive.  Today 
these  rare  and  costly  oils  are  offered  in  a 
perfected  blend  at  modest  cost.  .Palm- 
olive factories  work  day  and  night.  Palm 
and  olive  oils  are  imported  from  overseas 
in  vast  quantities. 

The  result  is  soap  for  which  users 
would  willingly  pay  25c,  but  which  costs 
only  10c,  the  price  of  ordinary  soap. 

The   firm,    fragrant,   green  cake,    the 
natural    color    of    the 
oils,  is  for  sale  the 
world  over. 


Volume 

and 

efficiency 

produce 

25c  quality 

for 


Copyright  192:)  -The  IMmolive  Co.     18<M. 


PMHO^ 


! 


I 

I 


ri 


! 


'Every  man  and  woman  should  use  "Mineralava.     I  would  not  be  without  it.' 


YfaCrfaK'  ^gjPeciTZZlts--^ 


P* 


*% 


Mr.  Rudolph  Valentino  isone  of  the  hundreds  of  men  and 

women  of  the  Stage  and  Screen  who  endorse  Mineralava. 

He  was  induced  to  use  it  through  the  example  of  his 

wife,  the  beautiful  Winifred  Hudnut,  who 

boasts  a  flawless  complexion  which  she 

attributes  to  the  use  of  Mineralava. 

Mineralava,  with   twenty -four   years  of 

successful  reputation  back  of  it  is  the  one 

preparation  for  the  positive  correction  of 

skin  -  malnutrition  which  Sir  Erasmus 

Wilson,  M.  D.,  F.  R.  S.  declares  is  the  prime 

cause  of  ills  that  affect  the  complexion. 

The  application  of  Mineralava  is  simple 

and  the  results  amazing.    It  draws  out  all 

impurities  from  the  pores;  it  builds  up  the 


facial  muscles  and  underlying  tissues  by  creating  a  per- 
fect circulation  of  the  blood;  it  keeps  the  muscles  firm 
and  healthy,  thereby  resisting  lines,  wrinkles  and  flabby 
flesh;  it  keeps  the  skin   in   the  normal 
healthy  condition  of  childhood. 

Mineralava  Face  Finish  is  an  ideal  skin 
food  and  tonic  which  should  always  be 
used  after  a  Mineralava  treatment. 
Women  find  it  an  ideal  base  for  powder; 
men  find  it  most  beneficial  after  shaving. 
Mineralava  is  on  sale  at  all  drug  and 
department  stores  at  $2.00  a  bottle  and 
the  Face  Finish  at  $1.50.  There  is  also 
a  trial  tube  at  50c  which  contains  enough 
Mineralava  for  three  treatments. 


DKywTalaCPa 


"  Makes  Faces  Younger  " 

PARIS   VIVAUDOU    NEW  YORK 
distributor 


7::^ 


QUESTIONS    and    ANSWERS 


Connie,  Peking,  North  China.— Indeed  I 
do  like  the  snapshots  of  scenes  in  and  about 
Peking.  A  chummy,  across-the-Pacific  act, 
Connie,  I  kiss  your  gracious  finger  tips.  With 
the  pictures  before  me  I  agree  that  it  is  a 
lovely  old  city.  Your  letter  causes  me  to  be- 
lieve that  girls  reared  there  are  also  lovely, 
and  amiable,  and  fond  of  the  movies.  That 
spells  romance.  Romance  is  the  very  fra- 
grance of  life.  Your  admiration  of  Kenneth 
Harlan  and  of  Malcolm  MacGregor  proves 
that  you  are  a  discriminating  young  person. 
They  are  good  actors  both.  I  am  interested 
in  the  fact  that  of  the  four  pictures  you  men- 
tion you  most  liked  "The  Prisoner  of  Zenda." 
So  did  I.  We  like  the  persons  who  like  what 
we  like.     Therefore,  Miss  Connie,  I  like  you. 

E.  P.,  San  Francisco. — Thanks  for  your 
confidence,  E.  P.  You  admire — more  than 
admire — a  popular  screen  star  but  you  "will 
never  run  away  to  find  him."  Right.  Give 
the  heart  enough  exercise  to  keep  it  healthy, 
my  child.  But  keep  the  mind  at  work  too, 
for  it  is  the  beacon  that  sends  light  across  the 
sometimes  dark,  and  often  troubled,  waters  of 
life.  Ramon  Novarro,  Malcolm  McGregor 
and  Edward  Burns,  are  all  with  the  Metro. 
Pola  Negri  is  with  the  Famous  Players  at 
Hollywood.  Dorothy  Dalton  is  with  the  Para- 
mount Company.  Its  studio  is  at  Long  Island 
City.  Miss  Dalton  is  now  in  Europe.  You 
admire  all  the  actors  and  actresses,  you  say, 
and  ask  me  whether  I  do.  All  actresses  (busi- 
ness of  a  low,  heart-on-hand  bow)  and  some 
actors. 

Ann  of  Tacoma. — "Disguise  my  person- 
ality." "A  baffling  fellow."  Not  at  all,  my 
Dear  Ann.  Only  a  man.  A  man  who  knows 
his  place  in  these  days  of  woman's  world  rule. 
The  returns  are  not  all  in  as  to  James  Kirk- 
wood's  age.  Those  that  have  arrived  favor 
thirty-eight.    Pola  Negri's  is  said  to  be  thirty. 

Meighan  Blues,  Baton  Rouge,  La. — You 
think  you  have  a  mental  picture  of  me  and  it 
"is  too  good  looking  to  sit  in  a  stuffy  office 
answering  questions."    What  would  you,  Miss 


"V/OU  do  not  have  to  be  a  subscriber  to 
*  Photoplay  Magazine  to  get  questions 
answered  in  this  Department.  It  is  only 
required  that  you  avoid  questions  that 
would  call  for  unduly  long  answers,  such  as 
synopses  of  plays,  or  casts  of  more  than  one 
play.  Do  not  ask  questions  touching  relig- 
ion, scenario  writing  or  studio  employment. 
Studio  addresses  will  not  be  given  in  this 
Department,  because  a  complete  list  of  them 
is  printed  elsewhere  in  the  magazine  each 
month.  Write  on  only  one  side  of  the  paper. 
Sign  your  full  name  and  address;  only  ini- 
tials will  be  published  if  requested.  If  you 
desire  a  personal  reply. enclose  self-addressed 
stamped  envelope.  Write  to  Questions  and 
Answers.  Photoplay  Magazine.  221  W.  57th 
St..  New  York  City. 


or  Mr.  or  Master  Blues?  That  I  play  polo 
and  risk  my  neck  or  toy  daintily  with  a  croquet 
mallet  in  my  mamma's  back  yard?  I  want  to 
please  you,  "Blues."  Eddie  and  Mauveline 
Polo  are  relatives,  indeed,  for  they  are  father 
and  daughter.  Wallie  Reid's  hair  was  brown. 
Mrs.  Thomas  Meighan  (Frances  Ring)  has  not 
acted  for  several  years.  Jean  Acker  is  no 
longer  in  California.  She  is  playing  in  Keith 
vaudeville. 

Florence  E.  G.,  San  Pedro,  Cal. — Every 
girl  wants  to  be  an  actress  because  actresses 
are  richly  endowed  with  charm  and  every  girl 
wants  to  be  charming.  The  desire  to  charm 
poor  weak  man  is  born  with  the  first  breath 
and  departs  only  with  the  last  breath  of 
woman.  The  impression  you  refer  to  about 
sailors  may  be  due  to  the  belief  that  they 
"have  a  sweetheart  in  every  port."  Women 
are  playing  a  new  game.  They  call  it  "  Find 
the  one  woman  man."  They  are  trying  to 
make  male  constancy  fashionable.  I  hope  they 
will  succeed.    It  will  take  some  work,  Florence. 

High  School  Vamp,  Michigan  City. — The 
ambition  of  your  life  is  to  see  Hollywood?  Our 
ambitions  are  movable.  One  day  yours  may 
be  to  keep  your  daughter  off  the  screen. 
Johnnie  Walker  is  twenty-seven  years  old.  His 
height  is  five  feet,  eleven  inches.    His  eyes  are 


brown.  His  hair  is  black.  His  latest  features 
are  "Red  Lights"  and  "Children of  the  Dust." 
His  address  is  Arthur  Jacobs,  United  Studios, 
Los  Angeles.  He  soon  will  make  productions 
to  be  called  the  Walker-Good  Productions. 
They  will  be  twelve  to  five  reelers,  featuring 
Eddie  Polo,  Katherine  Bennett  and  Kathleen 
Meyers. 

Peerette,  Detroit. — "I  just  can't  keep 
still  after  seeing  Ramon  Novarro  in  'Where 
the  Pavement  Ends,'  "  you  write  me.  I'm 
sure  Ramon  will  be  delighted  to  know  what 
an  enthusiastic  admirer  he  has  in  Michigan's 
metropolis.  He  was  born  in  Mexico  in  1899. 
He  is  five  feet,  ten  inches  tall.  His  address  is 
the  Metro  Studio,  Hollywood. 

Jean,  Paterson,  N.  J. — Another  of  the  age 
curious.  You,  too,  Jean.  Glad  to  oblige. 
But  I  wonder  if  you  and  the  other  age-curious 
girls  will  turn  cruel  when  the  gold  or  black  of 
your  matinee  idol's  hair  turns  to  silver.  O 
woman,  woman.  "Inconstant  as  the  moon." 
Forrest  Stanley's  calendar  rating  is  twenty- 
seven  years.  He  is  wedded.  It  might  have 
been  of  Jack  Pickford  the  poet  fellow  wrote, 
"Fate  tried  to  conceal  him  by  naming  him 
Smith."  And  as  though  that  were  not  enough 
fate  or  his  mother  prefixed  that  other  com- 
monplace in  names,  John.  The  age  of  that  same 
John  Smith  (alias  Jack  Pickford)  is  twenty- 
seven  years.  Leatrice  Joy  pairs  him  in  years. 
Constance  Talmadge  was  born  April  4,  1899. 
Richard  Dix's  age  is  twenty-nine  and  he  is 
wifeless. 

Marie  of  Los  Angeles,  Cal. — At  his  first 
home,  at  Tekamah,  Neb.,  when  he  was  the 
spankable  age,  they  called  Hoot  Gibson 
"Eddie."  Or,  if  the  paternal  disapprobation 
was  great,  "Ed."  He  signs  on  the  dotted  line 
of  his  contracts  "Edward."  His  age — why 
must  you  know  how  many  times  twelve 
months  we  males  have  eaten  and  slept,  and 
worked  a  little,  sworn  a  great  deal? — is  thirty- 
one.  Address  him  care  Universal,  Universal 
Film  Co.,  Universal  City,  Cal. 

[  continued  on  page  92  ] 

81 


82 


Photoplay  Magazine — Advertising  Section 


Food  that 
pampers  your 

gums 

c 


and 
ruins  your  teeth 

DENTAL  SCIENCE  has  dem- 
onstrated how  direct  is  the  re- 
lation between  healthy  gums  and 
sound  teeth.  It  has  been  conclusive- 
ly proved  that  this  soft,  delicious 
food  we  eat  today  cannot  give  the 
stimulation  to  our  gums  that  rough, 
coarse  food  once  gave. 

Does  your  toothbrush 
"show  pink"? 

It  is  one  of  the  penalties  of  civilized  exist- 
ence that  teeth  and  gums  are  less  robust. 
Tooth  trouble,  due  to  weak  and  softened 
gums,  is  on  the  rise.  The  prevalence  of  py- 
orrhea is  one  item  in  a  long  list. 

Dental  authorities  are  not  insensible  to 
this  condition.  Today  they  are  preaching 
and  practicing  the  care  of  the  gums  as  well  as 
the  care  of  the  teeth.  Thousands  of  dentists 
have  written  us  to  tell  how  they  combat 
soft  and  spongy  gums  by  the  use  of  Ipana 
Tooth  Paste. 

In  stubborn  cases,  they  prescribe  a  gum- 
massage  with  Ipana  after  the  ordinary  clean- 
ing with  Ipana  and  the  brush.  For  Ipana 
Tooth  Paste,  because  of  the  presence  of  zi- 
ratol,  has  a  decided  tendency  to  strengthen 
soft  gums  and  keep  them  firm  and  healthy. 

Ipana  is  a  tooth  paste  that's  good  for  your 
gums  as  well  as  your  teeth.  Its  cleaning 
power  is  remarkable  and  its  taste  is  unfor- 
getably  good.  Send  for  a  trial  tube  today. 

IPANA 

TOOTH  PASTE 

—  made  by  the  makers  of  Sal  Hepatioa 


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Kindly  send  me 
a  trial  tube  of 
IPANA   TOOTH 
PASTE    without 
charge  or  obligation  on 
my  part. 

Name 

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City 

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at  all  drug  and 
department 
stores— 50$. 


'too-®  y 

Title  Res.  U.  S.  Pat.  Ofl. 
'T'HIS  is  YOUR  Department.  Jump  right  in  with  your  con- 
•*•  tribution.  What  have  you  seen,  in  the  past  month,  that 
was  stupid,  unlife  like,  ridiculous  or  merely  incongruous?  Do 
not  generalize;  confine  your  remarks  to  specific  instances  of  ab- 
surdities in  pictures  you  have  seen.  Your  observation  will  be 
listed  among  the  indictments  of  carelessness  on  the  part  of  the 
actor,  author  or  director. 


HE  WAS  LOOKING  INTO  THE  FUTURE 
TN  "Java  Head"  when  Gerrit  Ammidon  is 
-'-standing  down  at  the  wharves  leaning  against 
an  anchor,  I  was  surprised  to  see  in  the  dis- 
tance a  swift  moving  tug  which  was  neither 
propelled  by  steam  or  sail.  Evidently  it  was 
a  motor  driven  tug  but — the  subtitle  tells  us 
the  picture  is  an  1849  story.  Now  you  know  as 
well  as  I  that  in  the  year  1849  no  sucn  thing  as 
motor  driven  tugs  existed. 
Ferdinand  Fogas,  Milwaukee,  Wisconsin. 

OR  KILLED  THE  FATTED  CALF 

I  THOUGHT  "  The  Hero  "  a  good  picture  and 
the  performance  of  John  Sainpolis  the  best 
work  I've  seen  in  months.  However,  the  pic- 
ture afforded  me  several  good  laughs.  We  see 
great  preparations  being  made  for  the  return  of 
the  soldier  boy  and  when  he  reaches  home  he 
expresses  to  his  mother  how  hungry  he  is,  and 
she  and  her  daughter-in-law  hurry  up  the 
serving  of  the  meal.  Then,  when  they  all  sit 
down  to  dinner,  several  long  close-ups  are  shown 
and  the  contents  of  the  table  can  be  clearly 
seen.  The  meal  consisted  entirely  of  bread, 
celery,  crackers  and  water.  They  might  have 
opened  a  can  of  beans  in  honor  of  the  hero's 
return! 

M.  L.  Driscoll,  Dayton,  Ohio. 

DEEP  STUFF 

TN  "The  Isle  of  Lost  Ships"  with  Milton  Sills, 
*-vl  submarine  is  caught  beneath  the  sea  and 
everyone  in  it  is  warm  and  almost  suffocating 
from  lack  of  air.  Milton  Sills  is  shown  in  his 
shirt  sleeves  and  fifteen  minutes  later  he  has  a 
sweater  on  and  they  are  still  under  sea. 

Macy  Esterman,  Paterson,  N.  J. 

SELF-CONSCIOUS— NOT  UNCONSCIOUS 

IN  "The  White  Flower"  when  John  Belden 
and  his  rival  go  surf  board  riding,  Belden,  not 
being  a  good  rider,  falls  from  the  board  and 
almost  drowns.  Seeing  Belden  unconscious 
Konia  (Betty  Compson)  reaches  him  and 
places  him  on  his  surf  board.  Although  sup- 
posed to  be  nearly  lifeless,  Belden  grips  both 
sides  of  the  surf  board  with  the  greatest  care, 
enabling  Konia  to  land  him  safely  upon  the 
shore. 

Chester  D.  Brigman,  Raleigh,  N.  C. 

IT  CHANGED  AUTOMATICALLY 

IN  Hope  Hampton's  "The  Light  in  the 
Dark,"  the  butler  informedE.  K.Lincoln  that 
a  rough  looking  person  (Lon  Chaney)  wanted 
to  speak  to  him.  Before  going  down  to  meet 
him  he  put  an  automatic  pistol  in  the  pocket  of 
his  bath  robe.  After  Lon  Chaney  knocked  him 
out  he  went  through  his  pockets  and  pulled  out 
a  regular  police  revolver. 

L.  Miller,  Milwaukee,  Wisconsin. 

HE  DYED  FOR  ART'S  SAKE 

1  ADMIT  anyone's  hair  might  turn  gray,  after 
witnessing  Adolphe  Menjou,  the  artist  in  the 
"World's  Applause,"  meet  his  tragic  death. 
But  I'm  inclined  to  believe  Lewis  Stone  also 
dyed.  At  least  his  hair  and  moustache  are 
quite  white  in  a  large  picture  appearing  on  the 
front  page  of  a  newspaper.  Throughout  the 
play,  however,  he  appears  to  be  an  ardent 
young  lover,  without  the  slightest  trace  of  sil- 
ver threads  among  the — I  forget  the  original 
color. 

W.  A.  Riley,  St.  Thomas,  Ontario. 


VISITING  POLICEMEN,  NO  DOUBT. 
TN  Harry  Carey's  picture,  "Good  Men  and 
-l-True,"  we  are  led  to  believe  that  the  story 
takes  place  in  a  small  western  town  and  to  sub- 
stantiate this  the  results  of  the  election  show 
about  700  voters.  Yet,  in  answer  to  Harry's 
call  for  help  come  five  or  six  policemen  in  reg- 
ular "big  city"  uniforms. 

C.  L.  B.,  Winfield,  Kansas. 

"KICKED  THE  BUCKET"  PERHAPS 
A  LTHOUGH  we  enjoyed  "The  Nth  Com- 
-**-mandment "  immensely  we  couldn't  help 
but  notice  the  following:  Colleen  Moore  as 
Mrs.  Harry  Smith  is  scrubbing  the  floor  with 
a  pail  of  water  and  rag.  A  knock  at  the  door 
brings  her  to  her  feet,  she  wipes  her  hands  on 
her  house  apron,  and  lo!  when  they  show  'em 
next,  the  pail,  the  brush  and  rag  are  no  more. 
Probably  she  did  take  them  put  but  we  didn't 
see  it  happen. 

Florence  Rittoner,  Ashtabula,  Ohio. 

BUT  A  COUNTY  IS  ONLY  A  COUNTY 
A  FEW  days  ago  I  saw  the  very  lovely  pic- 
■*»■  ture  "Peg  O'  My  Heart."  Having  been 
born  in  Ireland  and  having  lived  there  for 
twenty  years,  I  naturally  know  whereof  I 
speak.  You  will  remember  the  first  printing  on 
the  screen  says — "This  is  County  Athlone  in 
Ireland."  There  is  no  such  county,  but  there 
is  the  town  of  Athlone  in  County  Westmeath, 
important  because  of  its  celebrated  Horse  Fair 
and  some  fine  old  buildings. 

R.  M.  S.,  Pittsburgh,  Penna. 

THE  TRANSPARENT  DOOR! 
VX7ANDA  HAWLEY  is  really  interesting 
V*  and  I  surely  admire  her  ability  to  go  right 
through  a  locked  door  as  she  did  in  "A  Truth- 
ful Liar."  When  she  went  to  Potts'  office  to 
buy  the  letter  from  him,  he  was  shown  locking 
the  dcor.  But  in  her  mad  race  from  his  office 
she  apparently  forgot  to  unlock  the  door  and 
ran  right  through  it. 

Cornelia  Mitchell,  Audhiem,  Calif. 

KIDDING  THE  STENOt 

HERE  is  something  I  noticed  in  the  play 
"Outcast,"  starring  Elsie  Ferguson.  The 
scene  showed  the  room  on  an  ocean  liner  where 
telegrams  were  received  and  sent.  In  the  fore- 
ground was  a  typist  industriously  pounding  the 
old  ivories,  only  he  didn't  pound  them  like  he 
meant  business — his  fingers  danced  lightly  over 
them  like  butterflies  on  the  daisies.  I  feared 
for  his  copy.  Then  to  add  insult  to  injury,  he 
left  his  machine  at  the  announcement  of  the 
telegraph  operator  that  the  instrument 
wouldn't  work  and  it  showed  the  typewriter 
from  the  front,  and  horrors!  there  was  no 
paper  in  it.  He  must  have  been  practicing  for 
his  health  but  it  didn't  look  very  business-like. 
He  evidently  got  by  the  director  but  he  can't 
kid  any  little  stenog.  with  that. 

Lois  Fields,  Rochester,  Indiana. 

DOWN  IN  BLACK  AND  WHITE 

IN  Tom  Mix's  picture,  "Romance  Land," 
why  is  it  that  before  Barbara  Bedford 
changes  clothes  with  the  maid,  the  latter  is 
wearing  a  black  dress,  but  when  the  change 
has  been  effected,  Barbara  is  wearing  a  white 
dress? 

J.  A.  MacP.,  Brooklyn,  New  York. 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


You  wouldn't  appear  at  breakfast 
with  your  hair  in  curlers 


»3 


Decidedly  not.  Emphatically 
not.  You  wouldn't  dream  of 
such  a  thing. 

Why?  Because  it  isn't  prop- 
er? Not  at  all — that's  not  the 
point.  You  wouldn't,  because 
curlers  are  unbecoming. 

You'd  look  a  fright. 

It's  your  pride.  You  want 
your  friends  to  see  you  at  your 
best,  and  you're  right. 

But  how  about  appearing  at 
your  best  in  the  letters  you 
write?  What  impression  of  you 
does  your  stationery  carry  to 
your  friends?  Are  you  sure 
your  letters  do  not  picture  you 
as  unbecomingly  as  you  think 
curlers  would  ? 

Girls  who  know  the  value 
of  looking  fresh,  dainty,  chic, 
often  hastily  scrawl  an  accept- 
ance note  on  showy,  cheap 
paper,  ask  a  favor  on  a  sheet 
torn  from  a  scratch  pad,  use 
an  envelope  that  doesn't  match 
or  shapes  and  shades  of  paper 
that  fashion  doesn't  recognize. 


And  these  things" place"  a  girl 
just  as  surely  as  bad  dressing. 

They  lay  her  open  to  mis- 
judgment  just  as  unfairly. 
They  sometimes  cost  her  the 
acquaintance  of  people  she 
would  like  to  know. 

Begin  now  to  form  the  habit 
of  using  letter  paper  that  is  as 
smart,  correct  and  dainty  as 
yourself.  Such  a  paper  is 
Eaton's  Highland  Linen.  It  is 
pretty,  inexpensive,  made  in  all 
the  correct  shades  and  shapes. 


If  there  is  anything  you 
would  like  to  know  about  such 
things  as  invitations,  accept- 
ances, regrets,  bread-and-but- 
ter letters,  visiting  cards,  etc., 
write  me.  Or,  send  me  fifty 
cents  and  I  will  mail  you  my 
book,  "Correct  Social  Corre- 
spondence," which  answers 
every  such  question,  together 
with  usable  samples  of  Eaton's 
Highland  Linen. 


Eaton,  Crane  &  Pike  Company 
225   Fifth    Avenue.    New  York  City 


Eaton's  Highland  Linen  in  five  smart  envel- 
ope styles  and  all  the  fashionable  shades 
may  be  bought  wherever  stationery  is  sold. 

Style  is  a  greater  social  asset  than  Beauty 

Eaton,  Crane  &  Pike  Company— Sponsors  for  correctness  in  Correspondence— New  York-Pittsfield,  Mass. 


When  jou  write  to  advertisers  please  mention  I'ilOTOI'LAY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


ff't     Scouting? 

You'll  want  to  take  some- 
thing good  to  eat;  that's 
Kraft  Cheese. 

Rain  or  shine  your  Kraft 
Cheese  —  in  tins  —  will  be 
safe.  Make  your  cheese 
sandwiches  fresh  when 
you're  ready  to  eat. 
For  any  outing  there's  noth- 
ing to  equal  it;  solid  nour- 
ishment, compact,  con- 
venient. It's  good  until  you 
open  it;  very  good  when 
you  eat  it;  a  meal  by  itself. 

Keep  in  mind  the  difference 
between  Kraft  Cheese  and 
"just  cheese. "  We're  respon- 
sible for  the  quality  of  Kraft 
Cheese — our  name  is  on  it — 
and  we  make  it  our  business 
to  see  that  it's  always  as 
good  as  cheese  can  be  made; 
smooth,  rich  and  creamy. 
There  are  eight  kinds  sealed 
in  parchment  lined  tins. 
And  you'll  like  the  flavor — 
everyone  does. 

No  rind — it  spreads. 
No  waste — 100%  cheese. 

Cheese  Recipe  Book  FREE 

J.  L.  KRAFT  6k  BROS.  CO. 

CHICAGO,  ILLINOIS 

KRAFT-MacLAREN  CHEESE  CO.,  Ltd. 

MONTREAL,  CANADA 


No,  children,  this  is  not  a  Dutch  Jack  Dempsey.    It  is  Else  Djerlup,  one  of  the 

prides  of  Holland,  who  recently  won  a  beauty  contest  at  Amsterdam.    She  is  a 

native  of  Volendam,  but  Hollywood  is  probably  her  ultimate  goal 


Gossip — East  and  West 

[  CONTINUED  FROM  PAGE  78  ] 


AMERICAN  CHEDDAR 

^  CHEESE^ 


in  honor  of  Miss  Bennett's  sister,  Marjorie 
Bennett,  who  has  arrived  from  Australia  for 
a  visit.  Among  the  guests  were  Mr.  and  Mrs. 
Charles  Brabin  (Theda  Bara) — who  looked 
more  gorgeous  than  ever  in  a  gown  of  red 
velvet,  with  a  brilliant  coronet  comb  of 
glittering  red  stones  in  her  black  hair;  May 
Allison,  in  a  white  chiffon  dancing  frock  with 
green  slippers  and  jade  necklace  and  earrings; 
Florence  Vidor,  also  in  white  with  red  roses  at 
her  belt  and  in  her  hair;  Mr.  and  Mrs.  Charles 
Ray — and  of  course  Mrs.  Ray  wore  one  of 
those  adorable  tight-fitting,  full  skirted  frocks 
of  hers,  in  brocade  over  cloth  of  silver;  Mr. 
and  Mrs.  Wheeler  Oakman  (Priscilla  Dean); 
Mr.  and  Mrs.  Harold  Lloyd — Mildred  in  the 
daintiest  hand-embroidered  Paris  frock,  cov- 
ered with  frills  of  real  lace;  and  Rosa  Ponselle, 
the  opera  singer. 

JUDGING  by  the  latest  report  of  casualties 
along  the  Hollywood  front,  Rupert  Hughes 
was  justified  in  stressing  the  occupational 
hazards  of  actors  in  his  "Souls  For  Sale." 
Ernest  Torrence  had  three  stitches  taken  in 
his  hand  at  the  Universal  hospital  after  one 
of  the  extras  accidentally  struck  him  with  a 
prop  battle-ax.  Mr.  Torrence  was  leading 
1 ,500  extras  in  a  big  mob  scene  of  "  The  Hunch- 
balk  of  Notre  Dame."  Picture  Jim  Kirk- 
wood  in  a  corset!  He  wore  a  thick  one  under 
his  shirt  for  a  scene  in  "The  Eagle's  Feather" 


when  Lester  Cuneo  was  called  upon  to  horse- 
whip him  on  the  Metro  lot.  Lester,  in  his 
excitement,  aimed  too  high  with  the  whip  and 
caught  Jim  under  the  arms.  Blood  streamed 
and  Jim  howled,  and  two  doctors  were  sum- 
moned to  stop  the  flow  of  blood  and  language. 

HAS  the  world's  greatest  vampire  been 
tamed?  It  would  seem  so,  for  Theda 
Bara  has  turned  down  three  screen  offers, 
choosing  to  stay  by  the  fireside  and  look  after 
home  affairs  for  her  husband,  Charles  Brabin. 
The  Brabins  are  in  Hollywood  now,  where  Mr. 
Brabin  has  just  finished  making  "Six  Days." 
Theda  has  given  several  parties  and  is  a  pop- 
ular figure  in  the  colony,  but  she  only  smiles 
the  famous  sphinxian  smile  when  people  ask 
if  she  will  ever  return  to  the  public. 

THEODORE  ROBERTS  says  he  will  not  buy 
another  cigar  for  a  year.  The  man  who 
made  the  weed  famous  on  the  screen,  as 
famous  as  Uncle  Joe  Cannon  made  it  in  con- 
gress, is  not  swearing  off.  Not  at  all.  While 
he  was  on  a  vaudeville  tour  the  fans  welcomed 
him  with  big  bunches  of  cigars,  instead  of  the 
usual  flowers  that  are  given  a  star.  As  a 
result  his  humidor  is  stocked.  Now  he's 
playing  Moses  in  de  Mille's  "The  Ten  Com- 
mandments"— and  can't  smoke  before  the 
camera  as  usual.  "No  joy  in  life  for  a 
prophet,"  grumbles  Theodore. 


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AND  now  Andree  Lafayette,  recently  im- 
ported from  France,  has  done  it.  In  other 
words,  committed  matrimony.  Her  husband 
is  a  compatriot — a  comedian  who  was  brought 
over  from  Paris  to  play  a  part  in  "Trilby." 
Some  say  it's  an  old  romance  coming  to  flower 
in  a  new  land.  Some  say  that  the  two  never 
met  until  they  came  together  in  the  same  cast. 
And  some  unkind  souls  say  that  it's  mutual 
loneliness. 

A  LEADING  woman  refuses  to  play  with 
Douglas  Fairbanks! 

No  wonder  Hollywood  was  astonished  when 
Evelyn  Brent,  a  newcomer,  gave  up  volun- 
tarily her  chance  to  play  with  Fairbanks  in 
his  new  production,  "The  Thief  of  Bagdad." 
She  gave  as  her  reason  that  she  could  not 
afford  to  remain  off  the  screen  for  the  length 
of  time  the  production  would  require !  Rather 
new  and  astounding  logic. 

So  Fairbanks  has  selected  Julanne  Johnston 
for  his  leading  woman.  Julanne  is  a  girl  whom 
everybody  likes  and,  during  her  appearance  as 
a  star  dancer  in  the  prologue  to  "  Robin  Hood," 
she  won  a  large  following  in  the  colony.  By 
the  way,  we  do  hear  she's  engaged — or  about 
to  be  engaged — to  one  of  our  leading  press 
agents. 

CURIOUSLY  enough,  it  really  happened! 
But  the  event  is  so  fantastic  that  it  would 
do  credit  to  the  fertile  brain  of  a  press  agent! 
It  was  during  the  filming  of  "Human  Wreck- 
age," Mrs.  Wallace  Reid's  anti-narcotic  film. 
The  camera  men  were  doing  a  street  scene, 
and  several  policemen  had  been  stationed  at 
a  busy  corner  to  clear  traffic  as  a  wild  taxicab 
dashed  down  the  thoroughfare.  As  the  whistles 
blew  and  the  cameras  began  to  grind  a  China- 
man started  across  the  street,  evidently  quite 
unconscious  of  what  was  happening  around 
him.  Two  policemen  started  toward  him, 
anxious  to  get  him  out  of  the  path  of  the  taxi. 
But  the  Chinaman  misunderstood.  With  a 
terrified  glance  at  the  two  officers,  he  dropped 


»S 


H*5  /"*/  *            'J& 

rfj^Kl 

la      I 

^kk.      tB            ^^r 

Elsie  Ferguson  and  her  husband,  Thomas 
B.  Clarke,  Jr.,  a  snapshot  taken  on  boar  > 
ship  shortly  after  their  marriage,  whicl 
seems    to    have   hit    upon    the   rocks   of 
domestic  discord 


Always  master  of  the  situation 

Herbert  Rawlinson,  popular  Universal  star,  never  takes 
chances — especially  with  traffic  hazards.  His  car  is  equipped 
with  Biflex  Bumpers — the  super-safe  way  to  motor. 

Here  you  see  him  emphasizing  the  broad  bumping  surface 
of  Biflex — the  original  double-bar  bumper — that  effectually 
blocks  other  bumpers  of  all  heights ;  takes  blows  from  any 
direction. 

Biflex  Bumpers  are  the  natural  choice  for  the  fine  car,  the  acme  of 
safety,  the  finishing  touch  of  beauty.  The  hoop-like  construction,  made 
possible  by  the  "  full-looped"  ends,  absorbs  the  collision-shock  just  as 
your  springs  absorb  the  road-shock.  Your  auto  or  accessory  dealerlcan 
supply  you.     If  not,  write  us.      Prices  from  $23  to  $28. 

BIFLEX  PRODUCTS  CO.,  Waukegan,  111. 


Biflex 

Cushion  'Bumper 


Biflex  Bumpers  and  Brackets 
are  guaranteed  for  one  year. 
Fully  protected  by  U.S. Patents 


PROTECTION    WITH     DISTINCTION 


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86 


Photoplay  Magazine — Advertising  Section 


Cool  days 
at  Sea~^> 


Plan  your 
European  Trip  to 
escape  the  mid- 
summer heat- 

TF  you  are  going  to  Europe  this 
-*•  year,  plan  your  trip  for  August 
or  September.  Europe  is  delightful 
then.  August  days  that  are  miser- 
ably hot  here  are  cool  and  delight- 
ful at  sea. 

The  United  States  Lines  operates 
four  separate  services  to  Europe. 
The  largest  ship  in  the  world,  the 
Great  Leviathan,  plys  between  New 
York, Southampton  andCherbourg, 
with  a  sailing  every  three  weeks. 
Three  other  first  class  ships  sail  to 
Plymouth,  Cherbourg  and  Bremen. 
The  First  Class  Ships  Are: 

S.  S.  Leviathan  .  .  July  28  Aug.  1 8 
S.S.Geo. Washington  July 28  Sept.  1 
S.S.Pres.  Roosevelt  Aug.  11  Sept.  15 
S.S.  Pres.  Harding     Aug.  18  Sept.22 

In  addition  there  are  eight  splendid  cabin 
6hips— five  to  London  and  three  to  Bremen. 

Send  in  the  blank  below  today  and 
learn  about  this  great  fleet. 


information  blank 

To  U.  S.  Shipping  Board 
Info.  Sect.        C172      Washington, D.C. 

Please  send  without  obligation  the  literature 
giving  travel  facts.  ]  am  considering  a  trip  to  Europe 
□  .  to  the  Orient  D.  to  South  America  Q. 


My  tfamiL- 
Addrta   — 


Town. 


.State . 


United  States  Lines 

45  Broadway  New  York  City 

jtgtntitl  in  all  the  Principal  Citiet 
Managing  Operators  for 

U.  S.  SHIPPING  BOARD 


Corinne  Griffith  as  a  "Summer  girl"  in  "Six  Days."    Here's  a  little  hot  weather 

advice  from  her.    "Sit  in  front  of  an  electric  fan.    Sip  a  cold  drink  (soft,  of  course). 

Wear  as  little  as  possible" — or  as  little  as  she  does 


something  from  the  sleeve  of  his  jacket  and, 
slipping  into  the  crowd  of  bystanders,  dis- 
appeared. The  scene  was  shot  before-  one 
of  the  policemen  noticed  the  little  package 
that  the  Chinaman  had  dropped.  Picking  it 
up,  he  found  that  it  was  filled  with  little 
"bindles"  of  cocaine.  The  Chinaman  evi- 
dently thought  that  he  was  being  trailed,  and 
dropped  his  package  of "  dope." 

DTD  you  ever  notice  that  Nazimova  always 
turned  her  left  cheek  to  the  camera?  But 
now  she  will  turn  the  other  cheek,  because 
she  has  undergone  an  operation  to  remove  a 
scar  from  the  right  ?ide  of  her  face.  The  scar 
was  the  result  of  an  automobile  accident  in 
which  she  was  catapulted  through  the  wind 
shield.  Alia  spent  eighteen  painful  days 
having  her  face  made  over.  Now  there  isn't 
a  line  or  crinkle  in  the  velvet  of  her  cheek,  and 
the  photographer  doesn't  have  to  retouch  her 
photographs  at  all. 

ANOTHER  chapter  might  be  added  to 
"The  Tragedies  of  Pauline  Frederick," 
which  Photoplay  published  a  few  months 
ago.  Miss  Frederick  has  sold  her  beautiful 
home,  between  Hollywood  and  Beverly  Hills, 
which  she  loved  so  much,  and  she  is  about  to 
divorce  her  third  husband,  Dr.  Rutherford. 
She  returned  to  the  New  York  stage,  over 
which  she  once  held  sway,  in  "The  Guilty 
One"  last  winter,  but  neither  the  public  nor 
the  critics  felt  her  appeal  as  of  yore.  Now 
Miss  Frederick  is  planning  to  go  to  Europe  in 
the  fall.     Will  the  screen  reflect  her  again? 

NOW  that  "The  Bird  of  Paradise"  will  be 
put  upon  the  screen  a  lot  of  people  are 
wondering  who  will  create  the  part  of  the 
heroine,  that  unfortunate  Hawaiian  princess, 
Luana.  Will  it  be  a  newcomer  to  the  screen, 
or  will  it  be  one  of  that  group  of  stars  who  first 
saw  fame  while  playing  that  part  upon  the 
stage?  The  part  has  been  played  by  Laurette 
Taylor,  Lenore  Ulric,  Carlotta  Monterey, 
Bessie  Barriscale,  Florence  Rockwell  and 
Muriel  Starr.  And,  in  small  companies,  a 
number  of  other  fair  and  well  known  ladies. 
Curiously,  three  male  favorites  also  created 
parts  in  this  play.  Guy  Bates  Post  played 
the  part  of  the  Beachcomber  for  three  years, 
Lewis  Stone  was  the  fir-t  Paul  Wilson,  Liiana's 


lover,  and  Hatch,  the  quick  tempered  planter, 
was  made  famous  by  none  other  than  our  own 
Theodore  Roberts ! 

A  GROUP  of  Pasadena  society  women  has 
■**•  recently  begun  an  investigation  of  alleged 
cruelty  to  animals  in  motion  pictures.  While 
it  is  true  that  occasionally  a  horse  or  wild 
animal  is  subjected  to  harsh  treatment  in 
order  to  get  realism  into  a  film,  the  instances 
are  very  rare.  Certainly  the  humane  treat- 
ment accorded  his  dogs  and  wolves  by  Larry 
Trimble,  director  of  Strongheart  productions, 
should  be  specially  brought  out.  Mr.  Trimble 
is  one  of  the  greatest  handlers  of  dogs  in  the 
country  and  his  method  is  many  laps  in 
advance  of  most  dog  men  and  is  kindness 
itself. 

GOLDWYN,  Cosmopolitan  and  Distinc- 
tive pictures  have  merged  their  distributing 
activities  in  a  $70,000,000  deal.  Each  will 
produce  independently,  but  will  share  in  the 
di  tribution  costs  and  in  the  profits,  according 
to  their  holdings  in  the  Goldwyn  distributing 
organization. 

HAROLD  LLOYD  has  purchased  the  Bene- 
dict estate  in  Beverly  Hills,  one  of  the 
finest  pieces  of  residence  property  in  Cali- 
fornia. The  purchase  price  ran  well  into 
six  figures  and  Harold  figures  that  eventually 
he  will  build  a  beautiful  home  on  this  tract. 
Mildred,  we  understand,  doesn't  think '  so 
highly  of  it — the  estate  is  in  the  heart  of  the 
hills  and  is  some  distance  from  Beverly  Hills 
and  Hollywood. 

THE  first  theater  has  been  named  after  a 
motion  picture  star.  The  beautiful  new 
picture  house  just  opened  in  Oakland  is  called 
The  Norma  Talmadge  Theater.  New  York, 
of  course,  has  many  famous  playhouses  named 
for  stage  celebrities,  but  this  is  the  first  time 
a  movie  palace  has  been  given  such  a  title. 

WASN'T  that  a  perfectly  thrilling  story 
about  Betty  Blythe  vamping  a  real  sheik 
of  Algiers  and  receiving  the  gift  of  a  pony  from 
him?  We  were  getting  a  terrific  kick  out  of  it 
until  we  received  a  card  from  Betty.  She  was 
in  London,  hadn't  been  to  Algiers  and  wasn't 
going   there.     "Chu    Chin   Chow"   is   to  be 


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filmed  in  Berlin  because  there  are  too  many 
fleas  in  Algiers.  Now  what  we'd  like  to  know 
is  why  the  press  agent  picked  on  a  poor  little 
pony  as  a  mount  for  our  tallest  actress! 
Fancy  Sheba  on  a  Shetland! 

AFTER  hearing  so  much  about  how  this 
star  takes  his  exercise  by  means  of  a  brisk 
morning  canter,  and  how  that  one  gets  his 
fresh  air  via  the  Rolls-Royce  route,  it's  some- 
thing of  a  relief  to  hear  that  Ralph  Lewis,  who 
can  bring  tears  to  any  eyes  with  his  able  and 
pathetic  middle-aged  characterizations,  gets 
his  recreation  through  the  good  American 
game  of  baseball.  He  keeps  himself  as  hard 
as  nails  without  either  a  trainer,  or  a  bag  of 
golf  clubs  or  a  horse.  "  Give  me  a  ball  and  a 
bat  and  four  bases  to  run  around,"  says  Ralph, 
"and  I'm  all  set!"  N 

GERTRUDE  ROBINSON  KIRKWOOD 
has  withdrawn  her  suit  for  divorce  from 
James  Kirkwood.  A  brief  announcement,  but 
it  has  caused  a  lot  of  speculation  in  the  Holly- 
wood motion  picture  colony.  After  a  sepa- 
ration of  a  number  of  years,  Mrs.  Kirkwood's 
divorce  action  caused  no  surprise.  But  her 
dismissal  of  the  suit  has. 

""pILM  stars  have  ten  children." 

*■  That's  the  way  Los  Angeles  newspapers 
announced  the  fact  that  Mr.  and  Mrs.  Strong- 
heart  are  the  proud  parents  of  ten  little 
Stronghearts.  The  heirs  and  heiresses  of  film 
dogdom  were  born  aboard  the  H.  F.  Alex- 
ander, the  fastest  steamer  on  the  Pacific  coast, 
while  the  famous  dog  star,  his  family,  and  his 
director,  Laurence  Trimble,  were  returning 
from  Canada  where  they  have  been  making 
the  new  Strongheart  production,  "The 
Phantom  Pack."  Mrs.  Strongheart,  you 
know,  was  Lady  Jule  von  Helmettal,  prize 
winning  beauty,  who  was  imported  to  play 
opposite  Strongheart  in  his  pictures.  The 
ten  puppies  are  valued  at  $50,000. 

RAYMOND  MCjKEE  and  his  charming 
bride,  Marguerite  Courtot,  have  gone  to 
housekeeping  in  an  apartment  on  Fifth 
Avenue,    a    stone's    throw    from    Greenwich 


Borden  Harriman,  son  of  the  railroad 
magnate,  Oliver  Harriman,  will  appear 
as  a  barkeeper  in  the  leading  role  of  F. 
Scott  Fitzgerald's  "Grit,"  produced  by 
the  Film  Guild,  with  which  Glenn  Hunter 
made  his  start 


Goodrich  takes  the  "Guess"  out  of  TIRE  buying..  When  you 
buy  Goodrich  Silvertown  Cord  tires  you  eliminate  guess  work, 
because  there  is  only  one  Silvertown.  It  is  always  the  same — the 
highest  quality  in  material  and  workmanship,  and  you  can  get  it 
in  all  sizes.  The  Goodrich  name  appears  on  only  one  grade  of 
cord  tires  and  that  is  the  Silvertown.  We  value  our  name  too 
highly  to  put  it  on  a  tire  that  might  fall  short  of  delivering  the 
highest  standard  of  tire  service.  Your  Goodrich  dealer  is  selected, 
because  he  is  a  forward-looking  merchant  upon  whom  you  can 
rely.    He  is  ready  for  you  with  a  full  line  of  Silvertowns. 

THE    B.    F.    GOODRICH    RUBBER    COMPANY 

ESTABLISHED  1870 

In  Canada — The  B.  F.  Goodrich  Rubber  Company,  Ltd. 
Toronto  t   Montreal  '  Winnipeg 


Goodrich 

Silvertown  Cord 


SOLD    BY     GOODFVICH     DEALERS    THE    WORLD     OVER. 


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88 


Photoplay  Magazine — Advertising  Section 


MAE  MARSH 

wearing  the  famous 

"ONE  HOUR  DRESS" 

Let  us  tell  you  free  just 
how  to  make  it 

THE  "One  Hour  Dress"  has  created  a  sensation  1 
Newspapers    throughout    the    country   have   pub- 
lished  pages   and   pages   about   it,   hailing  it   as 
evidence    that    dressmaking    at    home    is    now    more 
popular  than  ever  before. 

The  "One  Hour  Dress"  can  be  made  in  one  hour 
and  the  only  expense,  of  course,  is  for  materials.  In 
silk,  it  makes  a  charming  afternoon  or  street  dress  at 
a  total  cost  of  $6  or  $7 — value  at  least  $15.  In 
gingham,  it  makes  a  dainty  home  dress  at  a  cost  of 
$1.50 — value  $3  or  $4.  And  in  print  or  lawn,  it  can 
be  made  for  as  little  as  60  cents — a  splendid  $2  value. 
The  "One  Hour  Dress"  was  designed  by  the  Woman's 
Institute  as  proof  that  with  proper  instructions  you 
really  can  make  pretty,  becoming  dresses  at  wonderful 
savings,  right  in  your  own  home.  It  is  just  one 
example  of  the  amazingly  simple  methods  in  the 
Woman's  Institute  New  Course  in  Dressmaking  and 
Designing. 

This  New  Course  presents  an  entirely  new  way  of 
learning  to  make  your  own  clothes,  based  on  the  Insti- 
tute's successful  experience  in  teaching  170,000  women 
and  girls.  It  is  a  new  method  by  which  you  start  at 
once  to  make  actual  garments.  A  new  plan  that 
covers  every  phase  of  dressmaking  thoroughly,  and  yet 
makes  it  so  fascinating  that  you  will  want  to  spend 
every  spare  moment  in  planning  and  fashioning  and 
making  the  pretty  clothes  you  have  always  wanted, 
but  never  felt  you  could  afford  to  buy. 

Mail  the  Coupon  To-day 

Prove  to  yourself,  without  obligation  or  expense, 
how  easy  it  is  to  make  your  own  clothes.  Let  us  send 
you — free — the  booklet  containing  complete,  detailed 
illustrated  instructions  for  mating  the  "One  Hour 
Dress,"  and  also  the  full  story  of  the  New  Course  in 
Dressmaking  and  Designing.  Simply  send  this  coupon 
or  a  letter  or  postal  to  the  Woman's  Institute,  Dept. 
17-V,  Scranton,  Penna.,  and  full  particulars  will  come 
to  you  by  return  mail. 


■  TEAR  OUT  HERE  • 


WOMAN'S  INSTITUTE 

Dept.  17-V,  Scranton,  Penna. 

Please  send  me,  without  cost  or  obligation,  the  book- 
let, "The  One  Hour  Dress  and  How  to  Make  It,"  and 
the  full  story  of  the  Woman's  Institute  New  Course 
in  Dressmaking  and  Designing.    I  am  most  interested  in — 

□  How  to  Design  and  Make  My  Own  Clothes 

□  How  to  Earn  Money  as  a  Dressmaker 

□  How  to  Design  and  Make  My  Own  Hats 

□  How  to  Earn  Money  as  a  Milliner 


Village.  Ray  is  tilling  a  contract  to  make 
comedies  in  the  East,  and  Marguerite  is  also 
working  in  the  vicinity  of  New  York. 

TT  looks  as  though  Italy  would  share  honors 
-l-with  Hollywood  and  New  York  in  the  field 
of  film  activities.  Lillian  dish  has  completed 
"The  White  Sister"  in  Rome,  and  will  co-star 
with  her  sister  Dorothy  in  George  Eliot's 
"  Romola"  to  be  filmed  in  Florence,  the  actual 
locale  of  the  story.  Lucy  Fox  has  been  working 
in  "The  Usurpers"  over  there  and  now  Sam 
Goldwyn  has  sent  George  Fitzmaurice  and 
his  wife,  Oudia  Bergcre,  to  film  "The  Eternal 
City"  in  Rome,  with  a  cast  that  includes 
Barbara  La  Marr,  Bert  Lytell,  Lionel  Barn- 
more,  Montagu  Love  and  Richard  Bennet. 

HOPE  HAMPTON  has  arrived  in  Holly- 
wood. She  and  her  sister  and  her  pet 
Pekinese  and  her  manager,  Jules  Brulatour, 
made  a  triumphal  tour  of  the  continent, 
although  Mr.  Brulatour  objected  to  having 
to  find  distilled  water,  at  a  high  price,  on  the 
trains,  only  to  learn  that  it  was  for  Miss 
Hampton's  poodle. 

JOHNNIE  WALKER— how  we  love  to  write 
J  that  name! — has  purchased  his  next  starring 
vehicle  from  Charles  Ray.     The  name  of  the 


story  is  "The  Worm"  and  Charles  meant  to 
do  it  himself,  before  the  lure  of  the  costume 
picture  got  to  him. 

A  ND  now  the  annual  pilgrimage  to  Europe 
1  Mias  started,  George  Fitzmaurice,  Barbara 
La  Marr,  Al  Christie,  Dorothy  Dalton  and 
Irene  Castle  are  all  on  their  way.  And  a 
whole  flock  of  others  are  packing  their  ward- 
robe trunks,  in  preparation. 

-DAMON  NOVARRO  is  the  favorite  of 
-••^-Minneapolis,  according  to  a  popularity 
contest  conducted  by  the  Garrick  theater. 
Novarro  won  over  Valentino  by  two  thousand 
votes. 

A^ARY  CARR  is  now  starring  in  a  drama 
*"-Mhat  is  built  around  the  life  stories  of  the 
unsung  heroes  (business  of  quoting)  of  the 
government  postal  department.  In  other 
words,  the  mail  carriers.  Somehow  we  sus- 
pect the  fine  Italian  hand  of  Will  Hays  in  this 
noble  effort.  Mary  Carr  is  a  fine  actress  and 
a  splendid  woman  and  we  give  her  credit. 
And  Brandon  Tynan — who  plays  the  big  male 
part — is  also  a  regular  person  and  a  head-liner. 
But  we'd  be  a  lot  more  enthusiastic  about  the 
theme  if  it  hadn't  taken  a  certain  special 
delivery  letter  of  ours  three  days  to  travel  the 
distance  of  twenty  city  blocks! 


Name.. 


(Please  specify  whether  Mrs.  or  Miss) 


Address  . 


SadaMchi  Hartman,  the  German- Japanese  author  poet,  has  dedicated  his  latest. 

hook,  "  The  Last  Thirty  Days  of  Christ,"  to  Aileen  Pringle,  the  charming  Goldwyn 

slur.     Miss  Pringle  helped  the  brilliant  writer  gather  the  material  for  this  work, 

end  the  camera  caught  them  talking  orer  royalty  terms 


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89 


Betty  Blythe,  in  a  new  oriental  turban, 
starts  for  Berlin,  where  "Chu  Chin  Chow" 
will  be  filmed  at  the  Famous  Players 
studio.  Betty  will  play  the  gorgeous 
heroine,  and  it  is  whispered  that  her 
costumes  will  rival  the  epoch-making  ones 
that  she  wore  in  "The  Queen  of  Sheba" 


PDDIE  PHILLIPS,  who  played  the  heavy 
*-J'm  "The  Nth  Commandment"  with  such 
success  that  all  the  girls  in  the  theater  wanted 
him  to  get  the  girl  instead  of  the  hero,  is  a  real 
radio  expert.  On  his  Laurel  Canyon  bungalow 
he  has  constructed  one  of  the  finest  radio  sets 
in  Hollywood.  And,  in  spite  of  his  dashing 
and  naughty  characterizations  on  the  screen, 
Eddie  spends  most  of  his  evenings  by  his  fire, 
with  his  dog  and  pipe,  listening  in  on  the  world 
in  general. 

1"  OIS  WILSON  is  going  to  be  an  outdoor 
-"girl  whether  she  wants  to  or  not.  After 
spending  months  on  location  for  "The  Cov- 
ered Wagon,"  she  is  now  making  another 
picture  three  days  from  a  railroad  in  the 
heart  of  Arizona. 

MARILYN  MILLER  is  in  Hollywood, 
spending  her  vacation  from  the  stage  in  a 
beautiful  Spanish  bungalow  with  her  husband, 
Jack  Pickford.  Jack  followed  his  custom  of 
meeting  his  wife  at  San  Bernardino  and  motor- 
ing her  down  to  Los  Angeles.  Mrs.  Pickford 
is  to  be  in  Hollywood  for  three  months.  But 
~he  has  signed  a  new  contract  with  Flo  Zieg- 
feld,  so  the  plans  for  picture  production 
which  were  announced  some  time  ago  have 
been  abandoned. 

JACKIE  COOGAN  is  to  go  to  Washington, 
Jit  is  announced,  to  speak  before  the  Con- 
gressional committee  considering  the  McCor- 
mick  Amendment  on  child  labor.  This  will 
be  the  first  time  that  a  stage  or  movie  star  has 
ever  been  accorded  such  an  honor.  Jackie 
ought  to  speak  very  feelingly  on  the  subject. 

"D  EBE  DANIELS'  grandmother  just  couldn't 
■^stand  it  another  minute,  so  she  hopped 
aboard  a  train  the  other  day,  bound  for  New 
York,  to  pay  a  visit  to  her  darling  grandchild. 
Bebe  has  been  in  New  York  some  months  and 
it  is  the  longest  time  she  and  her  grandmother 
have  ever  been  separated.  So  grandma  de- 
cided to  brave  the  terrors  of  a  cross-the- 
continent  trip  from  Hollywood  to  break  the 
lonesomeness. 

HOBART  BOSWORTH  got  a  blister  on  his 
hip,   the  other  day.     No,  don't  get  ex- 
cited!    Jt  was  from  wearing  a  heavy  sword 


Here's  a  delightful  Cream 
for  Sunburn 

and  a  real  preventive  also.  Hinds  Honey  and  Almond 
Cream  is  so  refreshingly  fragrant,  so  refined,  so  soothing  and 
cooling,  that  you'll  enjoy  it  thoroughly.  It  will  quickly  relieve 
all  irritation  and  soreness,  prevent  blistering  or  peeling,  and 
usually  heal  the  skin  over  night.  If  used  daily  as  directed  it 
will  keep  the  complexion  in  perfect  condition  all  summer. 

The  POWDER  BASE— Perfection 
Hinds  Honey  and  Almond  Cream  is  not  only  valuable  for  protecting 
the  skin  from  climatic  conditions,  but  also  is  giving  most  gratifying 
results  when  used  as  a  base  for  face  powder.  The  process  is  extremely 
simple.  Just  moisten  the  skin  with  the  cream  and  allow  it  to  nearly  dry, 
then  dust  on  the  powder.  It  will  adhere  wonderfully  and  remain  in  per- 
fect condition  longer  than  with  any  other  base  we  know  of.  The  cream 
and  powder  will  prevent  the  skin  from  becoming  rough  or  chapped. 

MANICURING— Without  Soreness 
This  same  Hinds  Honey  and  Almond      and  prevents  soreness;  also  because  it 
Cream  for  years  has  been  recommended 
as  an  aid  in  manicuring  because  it  so 
agreeably  softens  the  cuticle  for  removal 


adds  to  the  lustre  of  the  nails.  Alto- 
gether, it  is  a  gratifying  success  for  the 
entire  manicuring  process. 


HINDS  Cre-mis  FACE  POWDER 


Surpassing  in  quality  and  refinement. 
Is  impalpably  fine  and  soft.  Its  delicate 
tints  blend  to  produce  the  coveted  ef- 
fect and,  with  its  subtle  and  distinctive 

HINDS  COLD  CREAM 
Gaining  steadily  in  popular  favor 
because  it  is  perfect  for  massage,  for 
cleaning  the  skin  and  improving  the 
complexion.  Valuable  for  baby's  skin 
troubles  because  of  its  potent  healing 
qualities.  Contains  the  essential  ingre- 
dients of  the  liquid  cream;  is  semi- 
greaseless. 


fragrance,  enhance  the  charm  of  every 
woman  who  uses  it.  White,  flesh,  pink, 
brunette.  Large  box,  6oc.  Trial  box, 
1 5c.  Sample,  2c. 

HINDS  Disappearing  Cream 
is  greaseless,  and  never  shows  on  the 
surface  of  the  skin.  It  adds  rare  charm 
to  the  complexion  by  its  softening, 
delicately  refining  influence.  Makes 
rough,  catchy  fingers  soft  and  velvety 
smooth.  Prevents  dryness  and  that  ob- 
jectionable oily  condition.  Cannot  soil 
any  fabric.  A  base  for  face  powder 
that  many  prefer. 


All  druggists  and  departments  sell  Hinds  Honey  and  Almond  Cream  in  bottles,  50c 
and  #1.00.  Cold  or  Disappearing  Cream,  tubes,  25c.  Jars,  60c.  Traveler  size,  all  creams, 
ioc  each.  We  mail  a  sample  Honey  and  Almond  Cream  for  ic,  trial  size,  6c.  Cold 
or  Disappearing  sample,  2c,  trial  tube,  4c. 

A.   S.    HINDS  CO.,    Dept.   28  PORTLAND,  MAINE 

ifiiiiiiiiiiiiiiiiiiiiiiiiiiiM 


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J  i."«.T< 


/ 


—for  those 
who  live! 


It  is  life  itself,  Mademoiselle, 
this  tantalizing  fragrance  of 
living  flowers  that  is  sweep' 
ing  the  world  like  a  happy 
bon  mot,  overwhelming  the 
artificiality  of  perfumery. 

A  single  drop,  an  ephemeral 
fragrance,  and  Voila ! — one's 
thoughts  are  of  Paris  in  the 
Spring-time,  with  every 
blossom-scented  breeze  a 
temptation,  the  very  cobble' 
stones  whispering  messages 
of  love. 

As  chaste  as  sixteen! 

As  discreet  as  thirty! 

As  sophisticated  as  forty! 


PARIS 
7  Rue  de  L'Isly 

NEW  YORK 
366  Fifth  Avenue 

You  may  obtain  a  small 
vial  of  Lournay  Vivante 
by  sending  15  cents  to 
our  American  address 


2061 


to 


One  of  the  motion  picture  reviewers  recently  commented  on  the  small  number  of  real 
fights  shown  on  the  screen.  Here  is  one  of  the  few.  It  will  be  seen  in  the  revival  of 
Rex  Beach's  "The  Spoilers,"  and  the  fighters  are  Noah  Beery  and  Milton  Sills. 
The  original  version  of  this  fight  was  made  by  William  Farnum  and  Tom  Santschi 


that  is  a  part  of  his  costume  as  Philip  the 
Second  of  Spain,  in  "In  the  Palace  of  the 
King." 

AND  now  there's  a  man  out  in  California 
who  says  that  he's  able  to  photograph 
thoughts.  His  name  is  Vincent  Jones,  and 
he's  president  of  his  home  state's  Psychical 
Research  Society.  All  we  ask  is  that  Mr. 
Jones  be  kept  out  of  the  movies,  for  if  he 
begins  to  photograph  some  of  the  thoughts  of 
our  favorite  stars,  while  in  action,  there's  no 
telling  what  may  happen. 

A  COUPLE  of  our  best  known  blondes 
returned  to  Hollywood  this  month  and 
brightened  up  the  atmosphere  a  lot.  Claire 
Windsor  arrived,  having,  it  is  reported, 
caused  considerable  commotion  in  the  eastern 
smart  set,  and  Agnes  Ayres  left  Palm  Beach 
flat  to  begin  her  new  Paramount  picture  in 
Hollywood.  Claire  is  to  have  the  heavy 
emotional  lead  in  "The  Acquittal." 


A  X ARJORIE  RAMBEAU  while  in  Paris 
J-'-l-announced  that  she  will  obtain  a 
divorce  from  her  current  husband,  Hugh 
Dillman,  an  actor.  Mr.  Dillman  succeeded 
Willard  Mack,  who  was  Miss  Rambeau's 
husband  before  he  was  Pauline  Frederick's. 

LARRY  SEMON  has  signed  a  three-year 
contract  with  Truart  productions.  He  will 
make  three  productions  a  year,  the  first  to  be 
"The  Girl  in  the  Limousine."  Lucille  Car- 
lisle probably  will  play  the  Girl,  so  that  leaves 
the  Limousine  to  Larry's  interpretation. 

A  QUESTIONNAIRE  sent  out  by  the 
California  schools  to  parents  recently  to 
form  the  background  for  an  educational  judg- 
ment of  the  children  under  consideration  con- 
tained the  question:  "Please  state  the  names 
of  the  child's  favorite  motion  picture  actress 
and  actor  and  how  many  films  a  month  the 
child  goes  to  see."  Evidently  the  public 
schools  are  regarding  pictures  as  an  important 
factor  in  the  development  of  the  American 
child.  During  the  run  of  "Robin  Hood"  at 
Cniuman's  Hollywood  Theater  most  of  the 
suburban  high   schools   within   motoring  dis- 

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tance  came  en  masse,  by  bus  and  truck,  to 
see  the  film,  chaperoned  by  teachers  and  prin- 
cipals. 

TTELENE  CHADWICK  must  fulfill  her 
-*-^-Goldwyn  contract.  The  film  star  re- 
cently attempted  to  break  her  agreement  with 
the  Goldwyn  concern,  but  the  Los  Angeles 
courts  held  that  she  must  live  up  to  all  its 
terms.  So  she  is  back  on  the  Culver  City  lot 
and  ready  to  go  to  work. 

A  RUMOR  which  crept  about  Hollywood 
■**■  to  the  effect  that  a  very  expensive  Para- 
mount production  was  so  bad  that  it  was  to  be 
shelved,  without  release,  brought  an  odd 
little  reminiscence  from  one  of  the  company's 
officials.  After  denying  the  rumor,  he  said, 
"Famous  has  only  shelved  two  pictures  in  its 
whole  career;  one  made  by  Caruso  and  one  by 
Cavalieri.  I  guess  it  was  a  good  thing  they 
could  sing." 

ANNA  Q.  NILSSON  will  do  a  modern 
Rosalind  in  the  James  Young  production 
of  Cynthia  Stockley's  "Ponjola,"  which  has 
been  running  in  the  Cosmopolitan  magazine. 
She  maintains  the  disguise  of  a  man  prac- 
tically throughout  the  picture.  James  Kirk- 
wood  has  the  leading  male  role,  and  Tully 
Marshall  and  Joseph  Kilgour  are  in  the  cast. 

HOLLYWOOD  has  more  kings  and  queens 
than  Europe.  The  latest  arrivals  are 
Ferdinand  and  Isabella  of  Spain.  You  will 
recall  Isabella  as  the  lady  who  gave  Columbus 
the  jewels.  She  is  the  leading  figure  in  a  film 
that  Fred  Niblo  is  making,  tentatively  called, 
"Man,  Woman  and  the  Devil." 

IF  you  want  your  car  repaired,  try  Viola 
Dana's  garage.  Vi  has  purchased  a  garage 
in  Hollywood  and  is  doing  a  big  business, 
according  to  her  report.  However,  she  will 
continue  to  play  in  Metro  pictures,  at  least 
for  a  time.  Viola  bought  the  garage  because 
she  wanted  the  property  on  which  it  stood. 
She  found  that  the  repair  and  storage  business 
paid,  and  so,  being  a  sagacious  business  woman, 
she  hired  a  good  manager  to  take  charge  of  it. 


Photoplay  Magazine — Advertising  Section 


The  Shadow  Stage 

[  CONTINUED  FROM  PAGE  6^  ] 

THE  RAGGED  EDGE—Goldwyn 

THERE  are  several  points  of  interest  in  this 
adaptation  of  a  typical  Harold  McGrath 
romance.  Principally  it  is  the  amount  of  new- 
blood  in  the  cast.  It  is  Alfred  Lunt's  second 
screen  appearance  and  it  is  a  distinct  improve- 
ment over  his  debut.  And  it  marks  the  first 
film  appearance  of  a  former  photographic 
model,  Mimi  Palmeri,  who  reveals  unusual 
sensitiveness  for  a  film  debut.  The  story  itself 
is  smoothly  told,  moving  speedily  from  China 
to  the  South  Seas,  and  it  has  considerable  color 
and  speed.    We  suspect  you'll  like  it. 

THE  SNOW  BRIDE— Paramount 

EVEN  Alice  Brady  fails  to  register  in  this 
forced  and  artificial  tale  of  life  in  a  Canadian 
fur  trading  village.  There  is  plot  and  counter- 
plot, jealousy,  villainy  and  murder.  All  the 
elements  that  go  to  make  absorbing  melo- 
drama— except  the  vital  element,  which  is 
sadly  lacking.  Of  course  everything  ends 
happily,  and  there  are  some  good  snow  scenes, 
but  at  that  we  can't  even  recommend  it  for  the 
children. 

MICHAEL  O'HALLORAN—Hodkinson 

IF  you  want  your  child  to  be  a  perfect  little 
Chesterfield,  die  young — leaving  him  a  com- 
plete orphan — and  let  him  bring  himself  up  in 
a  dingy  alley.  This  helpful  hint  seems  to  be 
the  only  excuse  for  this  screen  adaptation  of 
Gene  Stratton-Porter's  story.  Of  course 
there's  a  little  crippled  girl  and  an  unhappy 
rich  couple.  The  whole  family  may  see  this,  in 
safety. 

DON  QUICKSHOT  OF  THE  RIO 
GRANDE— Universal 

THIS  might,  with  minor  changes,  develop 
into  a  fair  comedy.  But  as  a  straight 
western  it's  not  so  good!  The  hero  leaos,  far 
too  lightly,  into  danger.  And  he's  too  adroit  at 
breaking  jail  and  completely  demoralizing 
bands  of  desperadoes.  His  air  of  ease  and 
courage  gets  annoying,  after  a  time,  and  when 
finally  he  gets  the  girl  and  the  money  the 
audience  sighs  with  real  relief.  Small  boys  will 
love  this. 

BOSTON  BLACKIE—Fox 

AFTER  once  seeing  Lionel  Barrymore  as 
Boston,  William  Russell's  interpretation 
falls  pretty  flat.  Not  that  it's  entirely 
William's  fault — neither  the  scenario  writer 
nor  the  director  helped  much.  A  grim  tale  of 
prison  life,  made  grimmer  by  the  punishments 
meted  out  by  a  wolf  in  warden's  clothing.  Of 
course  right  triumphs  in  the  end,  with  Boston 
coming  out  on  top,  and  the  warden  defeated. 

RICE  AND  OLD  SHOES— F.  B.  O. 

A  CARTER  DE  HAVEN  comedy  of  the 
honeymoon — when  so  many  things  are 
funny  for  the  last  time.  There  are  some  laugh- 
able moments;  but  mostly  the  humorous  situa- 
tions have  been  done  before,  and  just  as  well. 
The  Carters  are  looking  tired  and  older — just 
a  trifle  beyond  the  bride  and  groom  stage.  But 
then  making  comedies  is  hard  work — for  some 
folks. 

RAILROADED—  Universal 

ASTERN  old  judge  tries  to  bring  up  his  son 
on  discipline — leaving  love  out  of  the  equa- 
tion. And  so  the  son  becomes  a  criminal,  and 
gets  put  in  jail,  and  breaks  jail  and  gets 
married  an'  everything!  All  because  he  didn't 
have  any  affection  as  a  child.  This  should  be 
seen  by  all  parents  who  don't  believe  in  sparing 
the  rod.  Unfortunately  it's  only  program 
stuff. 


91 


Prettier  Teeth 

If  you  fight  the  film 


While  you  leave  teeth  coated  with  a  dingy 
film,  their  luster  cannot  show. 

Look  about  you.  Note  how  many  teeth 
now  glisten.  And  mark  what  they  add  to 
good  looks. 

The  reason  lies  largely  in  a  new  method 
of  teeth  cleaning.  Millions  now  use  it  daily. 
Accept  this  ten-day  test  we  offer,  and  learn 
what  it  does  for  you. 

Why  teeth  lose  beauty 

A  viscous  film  clings  to  the  teeth,  enters 
crevices  and  stays.  The  tooth  brush  alone 
does  not  end  it.  No  ordinary  tooth  paste 
effectively  combats  it. 

So  much  film  remains.  Food  stains,  etc., 
discolor  it,  then  it  forms 
dingy  coats.  Tartar  is 
based  on  film.  Those 
cloudy  coats  hide  the 
teeth's  luster. 

Film  also  holds  food 
substance  which  ferments 
and  forms  acid.  It  holds 
the  acid  in  contact  with  the  teeth  to  cause 
decay.  That's  why  so  few  escaped  tooth 
troubles. 

Germs  breed  by  millions  in  film.  They, 
with  tartar,  are  the  chief  cause  of  pyorrhea. 
And  that  became  alarmingly  common. 

Better  methods  now 

Dental  science  studied  long  to  correct 
this  situation.  It  found  two  film  com- 
batants. One  of  them  acts  to  curdle  film, 
one  to  remove  it,  and  without  any  harmful 
scouring. 

^^\  aBiMWHaa      pat  of  r.     | 

Pgr>saqgjvl 

REG.  U.S.      ^B^Hi^M^BIM 

The  New-Day  Dentifrice 

A  scientific  film  combatant,  which 
whitens,  cleans  and  protects  the 
teeth  without  the  use  of  harmful  grit. 
Now  advised  by  leading  dentists  the 
world  over. 


Avoid  Harmful  Grit 

Pepsodent  curdles  the  film  and  re- 
moves it  without  harmful  scouring. 
Its  polishing  agent  is  far  softer  than 
enamel.  Never  use  a  film  combatant 
which  contains  harsh  grit. 


Able  authorities  proved  these  methods  by 
many  careful  tests.  Then  a  new-type  tooth 
paste  was  created,  based  on  modern  re- 
search. In  that  were  embodied  these  two 
film  combatants  for  daily  application. 

That  tooth  paste  is  called  Pepsodent. 
Leading  dentists  the  world  over  now  advise 
it.  Careful  people  of  some  50  nations  are 
employing  it  today. 

Multiplies  two  agents 

Pepsodent  does  two  other  things  which 
research  proved  essential.  It  multiplies  the 
alkalinity  of  the  saliva.  That  is  there  to 
neutralize  mouth  acids,  the  cause  of  tooth 
decay.  It  multiplies  the  starch  digestant  in 
the  saliva.  That  is  there 
to  digest  starch  deposits 
which  may  otherwise  fer- 
ment and  form  acids. 

Thus  every  use  gives 
manifold  power  to  these 
great  natural  tooth-pro- 
tecting agents. 

This  test  amazes 

This  10-day  test  of  Pepsodent  amazes 
and  delights.  The  results  are  quick  and 
conspicuous. 

Send  the  coupon  for  it.  Note  how  clean 
the  teeth  feel  after  using.  Mark  the  absence 
of  the  viscous  film.  See  how  teeth  whiten 
as  the  film-coats  disappear.  Watch  the 
other  good  effects. 

In  one  week  you  will  realize  what  this 
new  method  means.  You  will  see  results 
which  old  ways  never  bring.  Cut  out  the 
coupon  now. 


10-Day  Tube  Free  uw 

THE  PEPSODENT  COMPANY, 

Dept.  101,  1104  S.  Wabash  Ave.,  Chicago,  111. 
Mail  10-Day  Tube  of  Pepsodent  to 


Only  one  tube  to  a  family 


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« 


I'm  making  real 


money  now 


99 


"£*1EE  that  coupon?  Remember  the  day 
^^  you  urged  me  to  send  it  to  Scran- 
»J  ton?  It  was  the  best  thing  I  ever  did. 

"Mr.  Carter  called  me  in  to-day.  Said 
he'd  been  watching  my  work  for  some 
time — ever  since  he  learned  I  was  study- 
ing with  the  International  Correspon- 
dence Schools. 

"Then  he  asked  me  if  I  thought  I  could 
take  over  Bill  Stevens'  job.  I  told  him 
I  was  sure  that  I  could — that  I  had  had 
that  goal  in  view  ever  since  I  started  my 
I.  C.  S.  course. 

"I  start  to-morrow,  Mary,  at  an  in- 
crease of  $60  a  month.  It's  wonderful 
how  spare-time  study  helps  a  man  to 
get  ahead." 

FOR  thirty-one  years,  the  I.  C.  S.  has  been  helping 
men  to  win  promotion,  to  earn  more  money,  to  get 
ahead  in  business  and  in  life. 

You,  too,  can  have  the  position  you  want  in  the 
work  you  like  best.    Yes,  you  can. 

All  we  ask  is  the  chance  to  prove  it.  Without  cost, 
without  obligation,  just  mark  and  mail  this  coupon. 

INTERNATIONAL  CORRESPONDENCE  SCHOOLS 

Box  6478-B.  Scranton.   Penna. 
Without  cost  or  obligation  on  my  part,   please  tell  me 
how  I  can  qualify  for  the  position  or  in  the  subject  before 
which  I  have  marked  an  X : 

BUSINESS  TRAINING  COURSES 
D  Business  Management  D  Salesmanship 

J  Industrial  Management  □  Advertising 

3  Personnel  Organization  O  Better  Letters 

DTiafflc  Management  D Foreign  Trade 

J  Business  Law  Q  Stenography  and  Typing 

HIlRiiklng  and  Banking  Law  □  Business  English 

H Accountancy* Including C.P.A.)  O Civil  Service 
Q Nicholson  Cost  Accounting  O  Railway  Mall  Clerk 

Q  Bookkeeping  □  Common  School  Subjects 

□  Private  Secretary  □  High  School  Subjects 

QBuslness  Spanish     D  French     D  Illustrating 

TECHNICAL    AND    INDUSTRIAL   COURSES 


□  Electrical  Engineering 
G  Electric  Lighting 

□  Mechanical  Engineer 

□  Mechanical  Draftsman 

□  Machine  Shop  Practice 

□  Railroad  Positions 

□  Gas  Engine  Operating 

B Civil  Engineer 
Surveying  and  Mapping 
S  Metallurgy  □  Mining 

Steam  Engineering  □  Radio 


□  Architect 

□  Blue  Print  Beading 

□  Contractor  and  Builder 

□  Architectural  Draftsman 

□  Concrete  Builder 

□  Structural  Engineer 

□  Chemistry    □  Pharmacy 

□  Automobile  Work 

□  Airplane  Engines 
□Agriculture  and  Poultry 

□  Mathematics 


N»me 

Street  3-27-23 
Address 

City State 

Occupation 

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International    Correspondence   Schools    Canadian,   Limited, 

Montreal,  Canada. 

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DIVORCE— F.  B.  O. 

JANE  NOVAK  is  so  really  beautiful  in  this, 
J  her  latest  starring  vehicle,  that  one  is  apt  to 
forget  the  discrepancies  in  the  plot.  One 
almost  forgets,  too,  that  real  people  don't  act 
and  re-act  as  these  screen  subjects  do.  The 
story  moves  merrily  along  from  the  point 
where  the  young  wife's  mother  and  father  find 
the  parting  of  the  ways  to  the  crisis  in  her  own 
married  life. 


BURNING  WORDS— Universal 

A  BRAVE  and  chesty  member  of  the 
■**-Canadian  Mounted,  a  weakling  younger 
brother,  and  a  whole  flock  of  assorted  crimes. 
With  the  threadbare  climax  of  one  brother 
hunting  down  the  other  and  bringing  him  back 
to  justice.  We  might  mention,  in  passing,  that 
there  is  also  an  old  father,  and  an  old  mother 
and  a  blond  sweetheart.  A  plot  so  old  that  it 
creakes  and  rattles. 


Questions  and  Answers 


F.  E.  R.,  Evanston,  III 

ces!  Truly  your  tastes  proclaim  you  an 
unusual  girl.  Almost  unique.  You  "don't 
want  to  like  actors  that  everybody  else  likes." 
Ah!  You  remind  me  of  Ella  Wheeler  Wilcox, 
the  poet.  When  someone  praised  her  blue 
eyes  she  answered:  "They're  not  blue. 
They're  yellow.  I  want  to  be  different." 
Eugene  O'Neill,  too,  wrote  a  play  about  a 
woman  who  wanted  to  be  "different."  I  will 
endeavor  to  slake  your  burning  thirst  for  in- 
formation with  the  following:  Kenneth  Harlan 
was  born  in  New  York  City  in  1895.  His 
height  is  five  feet,  eleven  inches.  His  weight 
is  165  pounds.  Substantial  but  well  dis- 
tributed. As  a  darkey  cook  once  said  to  me, 
"Laws,  child.  It  ain't  the  size  but  the  shape 
that  counts."  Hair  and  complexion  dark. 
Eyes  black.  He  was  a  student  in  the  College 
of  New  York.  He  has  had  stage  experience  in 
stock  companies  and  in  vaudeville.  Wallace 
Mac  Donald  was  born  at  Mulgrave  and  edu- 
cated at  Sydney,  Australia.  He  had  had  a 
stage  career  before  going  into  pictures.  He  is 
five  feet,  ten  inches  tall,  weighs  142  pounds 
and  has  dark  brown  eyes  and  hair  which  the 
short  sighted  and  the  color  defectives  classify 
as  black.  Vincent  Coleman  is  a  hefty  boy. 
Consider  his  height,  six  feet,  one  inch,  and  his 
weight,  178  pounds.  He  is  in  the  brunette 
class.  His  eyes  and  hair  are  brown.  He  went 
on  the  stage  when  he  was  twelve.  A  stage 
child,  though,  contrary  to  the  old  fashioned 
proverb,  he  did  not  "grow  up  to  be  a  no 
account  actor." 

Green  Eyes,  Cambridge,  Iowa. — You 
write  me  that  you  had  "made  up  your  mind 
not  to  like  Rodolph  Valentino."  Then  you 
saw  him  act  and  you  "leaned  far  forward  to 
watch  him  and  did  like  him."  Ycm  pay  an 
unconscious  tribute  to  the  power  of  acting, 
my  friend  of  Iowa.  The  appeal  of  the  screen, 
as  of  the  stage,  is  to  the  emotions.  You  prove 
your  breadth  of  mind  by  saying  that  you 
"don't  know  how  anyone  can  have  only  one 
favorite."  You  like  Richard  Dix,  Wally  Reid, 
who  will  long  be  mourned,  Thomas  Meighan, 
Richard  Barthelmess.  A  wide  and  good  as- 
sortment of  favorites.  "Barthelmess"  is  pro- 
nounced with  the  accent  on  the  first  syllable. 
Your  sister's  compliment  to  Ivor  Novello  is 
much  too  good  to  keep  secret.  The  sister 
"who  doesn't  think  much  of  the  movies"  told 
you  that  in  one  picture  he  has  the  expression 
of  the  Christ.  And  your  mother  who  "thinks 
actresses  are  a  silly  looking  bunch,"  grants 
that  Priscilla  Dean  has  "a  very  intelligent 
look."  Your  mother  is  right.  You,  too,  are 
right.  Her  smile  is  one  of  her  best  points. 
Yes,  your  screen  heroes  autograph  their  own 
pictures.  As  tormented  witnesses  swear  upon 
the  stand  of  torture  in  a  courtroom  that  is 
true  "  to  the  best  of  my  knowledge  and  belief." 

C.  B.,  Albany,  Oregon. — You  and  your 
cronies  have  hot  disputes  about  Leatrice  Joy's 
height?  Some  think  she  is  five  feet,  six  and 
a  half  inches  tall.  The  guesses  vary  from  that 
downward  to  five  feet  three  inches.  You  are 
with  the  five  feet  three  faction  because  she 
"seems  so  tiny  and  appealing  on  the  screen." 
You  are  right.  The  five  feet  threes  have  it. 
You  may  be  interested  to  know  that  her  weight 
is  the  right  one  to  establish  symmetry  with 
that  height.     It  is  one  hundred  twenty-five 

Every  advertisement  in  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


[  CONTINUED  FROM  PAGE  8l  ] 

Frances!  Fran-  pounds.  You  are  right  again  for  her  hair  is 
not  bobbed.  The  birth  years  of  Thomas 
Meighan  and  Priscilla  Dean  are  respectively 
1879  and  1896. 


B.  A.  B.,  Berkeley,  California. — So 
manly  Thomas  Meighan  is  your  favorite  actor? 
And  you  are  saddened  by  the  rumor  that  he 
will  leave  the  screen  for  the  stage?  I  am  happy 
to  calm  your  fears.  I  understand  there  is  no 
prospect  of  his  retiring  from  the  films.  He  may 
make  an  excursion  upon  the  stage,  and  in 
George  Ade's  adaptation  of  "Back  Home  and 
Broke." 

E.  Joardo,  Toledo,  Ohio. — The  cast'of  "A 
Fool  There  Was"  is  as  follows:  Gilda  Fon- 
taine, Estelle  Taylor;  John  Schuyler,  Lewis 
Stone;  Mrs.  Schuyler,  Irene  Rich;  Muriel 
Schuyler,  Muriel  Dana;  Nell  Wintkrop,  Mar- 
jorie  Daw;  Tom  Morgan,  Mahlon  Hamilton; 
Avery  Parmelce,  Wallace  MacDonald;  Boggs, 
William  V.  Mong;  Parks,  Harry  Lonsdale. 

Petite,  Meadsville,  Penn. — Do  I  ever 
get  bored?  Not  by  such  clever  letters  as 
yours.  Am  I  really  a  man?  Dear  Petite,  any 
rumors  to  the  contrary  are  as  Mark  Twain 
said  of  the  premature  reports  of  his  death, 
"grossly  exaggerated."  The  man  whose  act- 
ing in  "Sonny"  made  you  weep  is  now  in  his 
twenty-seventh  year.  He  is  what  Booth 
Tarkington  declares  does  not  exist,  a  genuine 
New  Yorker.  If  he  met  anyone  who  was  born 
on  Manhattan  Island  he  said  he  would  give 
him  a  medal.  Mr.  Richard  Barthelmess  has 
won  the  medal.     Page  Mr.  Tarkington. 

May  Bee,  Pomeroy,  Iowa. — You  know  all 
that  can  be  known  of  Rodolph  Valentino 
through  reading  and  seeing  his  pictures?  Then 
we  may  classify  you  as  a  near  graduate  Val- 
entino student.  Back  numbers  of  Photoplay 
Magazine  can  be  secured  from  the  Photoplay 
Publishing  Company  of  750  North  Michigan 
Avenue,  Chicago.  Ralph  Graves  played 
opposite  Miriam  Cooper  in  "Kindred  of  the 
Dust."  Lila  Lee  is  twenty -one  years  old, 
measures  skyward  five  feet,  three  inches,  and 
her  weight  is  one  hundred  ten  pounds.  Gaston 
Glass  is  twenty-eight  years  old.  Cullen  Landis 
matches  him  in  age. 

Mike  Congar,  Rochester,  N.  Y. — No,  I 
was  not  offended,  as  you  fear,  by  your  calling 
me  an  "old  man"  in  a  previous  letter.  Some- 
thing must  have  happened  to  the  previous 
letter.  Perhaps  that  was  the  missive  which  I 
saw  a  mail  carrier  drop  in  a  gutter  on  a  blizzard 
day,  look  at  with  disgust,  and  walk  on.  No,  I 
won't  report  him.  The  letter  was  soiled  by  its 
mud  bath  beyond  reading.  Yes,  I  will  be 
pleased  to  answer  your  questions.  I'm  just  a 
little  pleased,  in  fact,  that  you  should  think  I 
am  old.  It  carried  with  it  a  suggestion  of  the 
wisdom  of  Solomon.  Yes,  Mildred  Davis,  who 
recently  became  Mrs.  Harold  Lloyd,  will  con- 
tinue to  adorn  the  screen.  She  will  appear  in 
"The  Meanest  Man  in  the  World,"  with 
Principal  Pictures.  Assuredly,  my  dear  Mike, 
Ramon  Novarro  is  a  star  Have  you  not  seen 
him  in  the  pictures,  "The  Prisoner  of  Zenda," 
"Trifling  Women,"  "Where  the  Pavement 
Ends,"  and  "Scaramouche?"  Yes,  again- 
envious  though  I  be — I  must  agree  with  a  fair 
correspondent  masquerading  as  "Mike,"  that 
Ramon  Novarro  is  handsome. 


Photoplay  Magazine — Advertising  Section 


93 


Odd  and  Even,  Blackwell,  Oklahoma. — 
Your  choice  of  a  nom  de  plume  reminds  me  of 
the  title  which  Mark  Sabre  gave  to  his  tall 
and  short  servants.  In  the  late  and  little 
lamented  play,  "If  Winter  Comes,"  he  called 
them  "High  Jinks  and  Low  Jinks,"  to  his 
wife's  annoyance.  She  thought  the  nickname 
undignified.  But  that  was  across  seas.  They 
care  more  for  dignity  and  we  care  more  for 
fun.  Your  whimsical  choice  gives  me  what 
everyone  needs  once  a  day,  for  his  mental 
health,  a  smile.  Well,  girls,  here  go  the  out- 
lines of  Dick  DLx.  How  the  girls  do  like  him! 
He  has  no  ball  and  chain — beg  pardon,  I  mean 
no  wife.  His  age  is  nine  and  twenty.  He  is 
one  of  the  good  things  that  came  out  of  St. 
Paul,  Minn.  Glad  you  liked  the  photograph 
that  Photoplay  reproduced  of  him.  Wonder 
if  he'd  like  your  calling  him  "Dickie."  De- 
pends, of  course.  Nearly  everything  depends, 
alack.  And  all  you  call  me  is  "The  Answer 
Man."  Cheerio.  One  kind-hearted  girl  began 
her  letter  with  "Dear"  and  a  dash.  She  told 
me  to  fill  in  the  blank  space.    Yes,  like  a  check. 

Anna  C,  San  Francisco. — You  think  I 
know  how  to  answer  love  letters?  My  dear 
Anna,  you  flatter  me.  Turn  your  ear,  so  pink 
and  like  unto  a  shell,  this  way  and  I  will 
whisper  a  secret.  The  Solomons  of  today  do 
not  answer  love  letters.  The  fear  of  breach 
of  promise  cases,  with  those  answers  being  read 
in  court,  is  a  mighty  deterrent.  Yes,  it  is 
pleasant  to  meet  many  charming  men  and 
handsome  women,  as  you  say.  You  go  on 
record  solemnly  as  believing  that  Rodolph 
Valentino  "committed  a  crime  against  his 
ambition"  by  marrying.  That  your  heart  and 
that  of  many  another  girl  has  been  broken  by 
his  marriage.  That  you  "can't  write  as  you 
feel  because  his  wife  might  read  his  letters." 
Too  bad!  Too  bad!  But  there's  a  game  of 
hearts  we  all  enter,  my  dear.  "The  Sheik"  is 
no  superman,  nor  yet  a  demigod.  Just  a  hu- 
man being  who  is  extraordinarily  handsome 
and  whose  heart  normally  functions.  He  is 
called  "The  Sheik"  because  he  played  the 
role  more  than  commonly  well.  Your  asser- 
tion that  a  sheik  should  marry  only  at  the 
age  of  forty-five  is  submitted  to  all  sheiks  or 
wouldbe  sheiks  for  their  consideration.  The 
real  article  begins  the  contemplation  of  matri- 
mony at  fourteen.  No,  I  do  not  think  that 
the  dark-eyed  one  whom  all  men  envy,  and 
some  men  hate,  will  make  an  early  trip  to 
Italy. 

G.  A.  B.,  Westfield,  N.  J. — Have  you 
heard  that  he  or  she,  whose  initials  spell  a 
word,  is  destined  to  health,  happiness,  and  all 
good  things  in  this  mundane  life?  My  com- 
pliments to  you  upon  your  possession  of  word- 
spelling  initials,  my  dear  Mr.  or  Miss  Gab. 
No,  I  haven't  red  hair.  Nor  is  it  black.  Nor 
white.  I  give  you  two  more  guesses.  The 
leading  man  who  played  opposite  Mary 
Pickford  in  "Tess"  was  Lloyd  Hughes.  His 
physical  plans  and  specifications  are  as  follows, 
to  wit,  namely:  Six  feet  tall,  weight  150 
pounds.  Ramon  Novarro's  address  is  Metro, 
Hollywood,  Cal.  Heard  of  the  city  of  pictures 
more  than  several  times,  haven't  you? 
Thought  so.  In  California.  Southern  part 
Near  the  city  of  Los  Angeles.  The  early 
Spanish  settlers  named  it  Los  Angeles.  It  is 
the  abode  of  angels,  of  differing  degrees. 

Fannie  Jack,  Olney,  III. — Glad  to  be  the 
recipient  of  your  tender  confidences.  Would- 
n't it  turn  their  heads,  owl-like,  round  and 
round,  if  they  knew  what  you  think  of  them? 
No,  I  won't  tell  their  wives.  I  believe  in  keep- 
ing marriages  intact  when  possible.  I  am  not 
from  Colorado  where  every  other  marriage 
crashes  into  the  divorce  courts  and  comes  out 
broken.  However,  there  is  a  limit  to  a  woman's 
forbearance — and  to  a  man's.  Harold  Lloyd 
is  a  bridegroom.  The  matrimonial  sentence 
was  passed  upon  him  and  Mildred  Davis, 
February  10,  this  year.  Ruth  Roland's  ad- 
dress is  care  Ruth  Roland  Serials,  United 
Studios,  Los  Angeles. 


Pittsburgh 


a 


New  York 


Harrisburg 


Diagram  showing  hom  the  voice  current* 

Weaken  in  the  long  distance  transmission 

and  are  restored  by  "repeaters. " 


Mastering  Nature's  Forces 


Without  the  telephone  "re- 
peater," the  entire  electrical 
power  available  on  the  earth 
would  not  be  sufficient  to  make 
trans-continental  speech  com- 
mercially possible.  The  three 
thousand  repeaters  now  in  use 
on  Bell  System  long  distance 
lines  have  increased  the  talking 
range  of  every  telephone  by 
thousands  of  miles.  By  mak- 
ing possible  the  use  of  smaller 
gauge  wires,  repeaters  have 
kept  down  the  cost  of  equip- 
ment by  millions  of  dollars. 

The  repeater  is  only  one  out 
of  scores  of  scientific  develop- 
ments of  equal  or  greater  im- 
portance in  the  advancement  of 
telephone  service.  Bell  System 
progress  has  been  a  continual 
encounter  with  seemingly  im- 
possible barriers,  and  a  con- 
tinual finding  of  new  ways  to 


overcome  them.  Each  step  in 
extending  the  range  of  speech 
has  come  only  after  years  of 
study.  Each  important  piece  of 
telephone  apparatus  has  had  to 
be  created  for  the  need.  Each 
working  day  this  pioneering 
goes  on.  Nature  is  harnessed 
to  a  new  duty  and  mechanical 
ingenuity  improves  the  tools  of 
service,  as  fast  as  science  finds 
the  way. 

Not  only  is  the  Bell  System 
daily  conducting  research  within 
its  own  nation-wide  organiza- 
tion, but  it  is  studying  the  dis- 
coveries of  the  whole  world  of 
science  for  their  possible  appli- 
cation to  telephone  service. 
Only  by  such  eternal  vigilance 
has  the  United  States  been  given 
the  best  and  cheapest  telephone 
service  in  the  world. 


"Bell    System" 

American  Telephone  and  Telegraph  Company 
And  Associated  Companies 

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toward,  Better   Service 


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Photoplay  Magazine — Advertising  Section 


Rigaud's 
Cold  Cream 

(for  cleansing) 
Applied  at  night,  or 
after  train  and  auto 
travel,  thoroughly 
cleanses  dust- 
clogged  pores. 


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(for  building  firm 

tissues) 
Pat  this  briskly  into 
your  skin,  after 
cleansing.  Firm, 
beautifully  textured 
skin  is  your  reward ! 


Rigaud's  Vanishing  Cream 

(the  ideal  base  for  your  powder) 


Fora  radiant  dinner 
appearance,  or  be- 
fore applying  your 
powderinthe  morn- 
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of  Rigaud's  Van- 
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Rigaud's 
Rouge 

(for  a  rose-petal 

loveliness) 
A  touch  of  Rigaud's 
Rouge  to  cheeks 
and  tips  of  ears  gives 
a  piquant  flush  of 
exquisite   delicacy. 


Rigaud's 
Face  Powder 

Upon  the  perfect 
base  of  Rigaud's 
Vanishing:  Cream, 
over  the  rose  flush 
of  Rigaud's  Rouge, 
dust  a  light  film  of 
R  igaud*s  Face  Pow- 
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FACE  CREAMS 
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THESE  five  steps  in  the  care  of  the  skin 
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Sale  Vhlribulori 


Billy  of  Elizabeth,  N.  J. — Please,  are  you 
such  a  Billy  as  Billie  Dove  or  such  a  Billy  as 
Billy  Van?  "Anyway,"  as  the  late  comedian 
Charles  Ross  used  to  begin  his  sentences, 
Agnes  Ayres  and  Gloria  Swanson  should  be 
addressed  in  care  of  the  Paramount  Studios, 
Long  Island  City,  N.  Y.  Edward  Burns  has 
reached  the  estate  of  matrimony.  Gloria 
Swanson  is  of  the  attractive  age  of  "sweet  and 
six  and  twenty."  Marion  Davies  has  a  wealth 
of  golden  hair  in  her  own  right.  When  she 
plays  senoritas  of  old  Spain  she  hides  it 
beneath  a  black  wig. 

Mildred,  Oakland,  Cal. — Of  a  certainty, 
shy  Mildred,  I  will  give  you  Robert  Agnew's 
address.  Why  do  you  refrain  from  asking  his 
age?  Has  your  interest  no  boundary  of  years? 
Someone  in  Hollywood  may  soon  write  an  un- 
popular song  entitled  "Darling,  I  Dare  Not 
Grow  Old"  to  be  sung  by  a  chorus  of  male 
stars  over  twenty-five.  Mr.  Agnew  is  accessible 
by  mail,  and  female  correspondents,  at  the 
Famous  Players-Lasky  Studios,  Hollywood. 

C.  G.,  Jr.,  Salem,  Ohio. — Yea,  my  son, 
Dorothy  Gish  is  married.  And  "they  say" — 
"they"  includes  her  mother  and  sister — right 
happily.  To  James  Rennie,  who,  the  girl  who 
goes  to  the  theater  with  me,  my  sister,  says, 
is  one  of  the  handsomest  men  on  stage  or 
screen.  Rennie  leads  a  double  life  profession- 
ally, for  he  gives  half  of  his  year  to  the  stage 
and  half  to  the  screen.  He  was  Frances  Starr's 
leading  man  in  her  last  play,  "Shore  Leave." 
Mrs.  Rennie,  more  generally  known  as  Miss 
Gish,  has  an  artistic  apartment  in  East  Nine- 
teenth Street,  New  York,  where  she  and  her 
husband  give  pleasant,  informal  teas  on  Sun- 
day afternoons.  On  March  n  she  celebrated 
her  twenty-fourth  birthday. 

Teddy,  Pleasant  Hill,  Ohio. — As  you 
like.  Bebe  Daniels  has  not  bowed  her  head  to 
the  marriage  yoke.  Rodolph  Valentino's  last 
picture  was  "The  Young  Rajah."  Mary  Pick- 
ford  has  been  married  twice.  Her  first  husband 
was  Owen  Moore.  Her  second,  as  you  doubt- 
less know,  is  Douglas  Fairbanks. 

Elsie  of  Sioux  City,  Iowa. — Richard  Bar- 
thelmess  is  twenty-eight.  He  is  living  at  New 
Rochelle  this  summer,  and  is  a  commuter.  He 
travels  to  New  York,  crosses  the  big  town  and 
goes  to  Fort  Lee  Studio,  to  make  the  pictures 
in  which,  David  Wark  Griffith  says,  he  looks 
like  a  "young  god,"  to  Fort  Lee,  N.  J.  That 
town  is  situated  on  the  Palisades,  the  chalk- 
like cliffs  that  frame  the  Hudson  River.    I  am 


not  sure  whether  his  wife,  professionally  known 
as  Mary  Hay,  will  appear  again  in  pictures. 
She  has  signed  a  contract  to  appear  in  a  musi- 
cal comedy  this  autumn.  She  is  said  to  have 
written  a  musical  comedy.  If  true  this  indi- 
cates that  she  is  not  only  young  and  lovely  but 
extraordinarily  gifted.  You  girls  think  she  has 
a  sufficient  gift  in  having  Richard  Barthelmess' 
love,  don't  you?  Broadway,  that  "knowl- 
edgeous  "old  street,  calls  her  "  The  girl  who  has 
everything."  We  must  not  forget  among  her 
gifts  the  heiress  to  the  Barthelmess  fortunes 
and  character,  who  arrived  in  February.  The 
city  of  Betty  Compson's  nativity  is  that  of 
Maude  Adams — Salt  Lake  City. 

G.  W.,  Indianapolis. — Jolly  boy,  George. 
Same  initials  as  George  Washington.  Hope 
you  share  one  of  his  famous  characteristics. 
No,  I  won't  tell  you.  Look  up  your  United 
States  history.  It  had  to  do  with  a  celebrated 
hatchet.  You're  not  trying  to  marry  any  of 
the  movie  stars.  Just  want  to  know  about 
'em?  Just  curious!  You  certainly  won't 
marry  Alice  Joyce.  Her  husband,  James 
Regan,  won't  let  you.  Her  address  is  Dis- 
tinctive Pictures  Corporation,  366  Madison 
Ave.,  New  York.  She  lives  in  a  picturesque 
house  of  red  brick  and  stone  near  the  Hudson 
River.  Has  a  terrifying  butler.  Photographs 
of  stars  can  be  secured  by  writing  their  man- 
agement and  enclosing  twenty-five  cents  in 
stamps,  postal  orders  or  check. 

Dud  of  Maine. — About  to  be  graduated 
and  still  you  steal  time  to  write  an  eight-page 
letter  to  the  Answer  Man.  My  surmise  is  that 
Alice  Terry  would  send  you  a  photograph.  I 
would  if  I  were  Alice.  A  pleasant  summer  to 
you,  "Dud,"  and  a  life  of  pleasant  summers, 
and  not  too  severe  winters,  even  though  they 
say  you  Maine  folk  like  them  so.  And  enough 
movies  to  keep  the  flavor  of  romance  in  the 
feast  of  life. 

Archie  McC.  of  Victoria,  B.  C. — Do  you 
wear  kilts  and  play  a  bagpipe,  Archie?  Your 
brief,  manly  letter,  a  model  of  directness,  sug- 
gests that  you  do.  I'm  muckle  sure  that  Gloria 
Swanson  would  be  the  donor  of  a  photograph 
of  her  glorious  self  if  you  wrote  her  care 
Famous  Players,  Paramount  Studio,  Long 
Island  City,  N.  Y.  Nor  would  Pauline  Garon 
turn  a  cold  shoulder  on  your  plea,  unless  she 
be  of  sterner  stuff  than  her  lovely  pictures. 
She  has  finished  "  Children  of  the  Dust"  at  the 
Arthur  N.  Jacobs  Productions,  United  Studios. 
Los  Angeles,  and  is  dividing  her  vacation  time 
among  New  York,  her  native  Canada,  and 
Europe. 


HUSBANDS— By  Their  Wives 

Strange  as  it  may  seem  to  readers  of  the  yellow 
press,  there  are  still  many  married  couples  con' 
nected  with  the  motion  pictures  who  live  uri' 
der  the  same  roof  and  are  happy  and  contented. 
Stories  about  such  couples  are  seldom  if  ever 
published  because,  so  far  as  the  "yellows"  are 
concerned,  there  is  no  interest  without  scan' 
dal.  PHOTOPLAY  has  gathered  the  views 
of  some  of  the  contented  wives  about  the 
husbands   whom    they   love   and   appreciate. 

IN  SEPTEMBER  PHOTOPLAY 


Every  advertisement  In  1'IIOTori.AV  MAGAZINE  is  guarantee 


Photoplay  Magazine — Advertising  Section 


Jack,  San  Antonio,  Texas. — Of  course  the 
charming  young  woman  who  prefers  to  hide 
behind  the  mask  of  "Jack"  writes  graciously 
and  enthusiastically  from  the  Garden  City  of 
the  Southwest.  "Too  bad  that  Harold  Lloyd 
got  married?"  You  think  "all  the  girls  in 
Texas  were  disappointed?  "  But  my  dear  Jack, 
beg  pardon,  Miss  Jack,  there  is  a  stringent  law 
in  every  state  against  bigamy,  also  polygamy. 
He  couldn't  marry  all  of  his  petticoated 
admirers.  I'ts  well  that  he  -emembered  this. 
"The  boys  down  here  are  wild  about  Bebe 
Daniels,"  you  say.  The  boys  display  good 
taste.  I  am  glad  you  are  interested  in  Rodolph 
Valentino's  Life  Story.  Mae  Murray's  recent 
picture  is  Jazzmania.  Address  her  care  Metro. 
Gloria  Swanson's  address  is  care  Famous 
Players. 

L.  C.,  Sheffield,  Florida. — So  you  have 
brown  eyes  and  hair  and  are  built  on  the  plan 
of  Betty  Blythe?  "Of  course,"  you  add,  with 
rare  and  sweet  modesty,  "lam  not  as  pretty  as 
she  is."  Doubtless  the  young  man  who  hopes 
to  change  the  initial  of  your  last  name  thinks 
you  are  prettier.  He  should.  That's  the  way 
of  true  hearts  when  you  find  them.  And  I  hope 
you  will  find  one,  Miss  L.  C.  No,  I  haven't  red 
hair.  I  haven't  much  of  any  shade.  What 
there  is  is  of  several  shades.  That  is  why  those 
who  are  such  good  friends  as  to  be  rudely 
familiar  dare  to  call  me  "The  Zebra."  But 
enough  of  the  Answer  Man.  Let  us  talk  of 
Bebe  Daniels.  In  answer  to  your  query — no, 
she  is  not  married.  'Twas  rumored  while  Jack 
Dempsey  was  in  Europe  that  she  might  become 
Mrs.  Dempsey.  But  Bebe  said  it  was  an 
indolent  rumor.    She  knows. 

We  13,  Riverside,  California. — How  in- 
teresting! Thirteen  of  you,  as  you  say,  "A  big 
baker's  dozen,  ranging  in  age  from  sixteen  to 
eighteen,  want  a  few  questions  answered." 
My  deepest  bow,  my  thirteen  deepest  bows. 
You  are  "very  much  in  love  with  Thomas 
Meighan  and  Forrest  Stanley."  Then  with 
delightful,  feminine  inconsequentiality  you  ask 
as  an  afterthought,  "How  old  are  they?" 
What  does  it  matter  if  you  are  "in  love  with 
them?"  O  woman !  woman !  Forrest  Stanley's 
age  I  have  not  been  able  to  ascertain  for  you. 
But  Thomas  Meighan's  secret  I  fling  forth  to 
the  world  of  womanhood.  It  isn't  often  that 
an  ordinary  man  can  score  off  on  these  matinee 
idols.  He  is  thirty-eight.  A  delightful  age, 
you  say.  Again,  I  repeat,  groaningly  repeat, 
Oh  woman !  Woman !  At  all  events  I  can  shake 
the  skeletons  in  their  closets.  On  second 
thought  I  wonder  whether  Mrs.  Meighan  and 
Mrs.  Stanley  would  like  being  called  skeletons. 
On  third  thought  I'll  let  it  stand.  It  is  smart 
to  be  thin.  Dearest  friends  meet,  kiss  each 
other  on  both  cheeks  and  coo,  "My  dear,  how 
beautifully  thin  you  are!"  Mrs.  Thomas 
Meighan  is  Frances  Ring,  a  sister  of  the  famous 
Blanche  Ring,  and  a  pleasing  actress  in  her 
own  right.  Mr.  Stanley  married  Miss  Marion 
Hutchins. 

I.  K.,  Wilmington,  Del. — You  are  a  girl 
of  definite  habits  and  strong  individuality. 
How  on  earth  do  I  know?  By  the  note  paper 
you  use.  Blue  of  the  sky  at  dawn  of  a  clear 
August  day.  Rose  garlands  festooned  at  the 
corners.  The  edges  picked  out  prettily  with 
what  my  sister  would  call,  if  the  note  paper 
were  a  gown,  hemstitching.  I  judge  a  girl  as 
much  by  the  note  paper  she  uses  as  by  her 
handwriting.  For  handwriting  may  be  an 
accident  but  note  paper  is  a  choice.  You 
think  I  am  married,  I.  K.  What  evidence 
have  my  poor  words  given  of  a  crushed  spirit? 
The  French  actor  to  whom  you  refer,  who  plays 
opposite  Dorothy  Dalton,  is  Count  Arthur  de 
Rochefort.  For  brevity's  sake  he  uses  the 
name  Charles  de  Roche.  He  supports  Miss 
Dalton  in  "Leah  Kleschna"  and  Pola  Negri 
in  "The  Cheat."  Write  Marion  Davies  as 
prettily  as  you  wrote  me  and  I  am  sure  she 
will  not  refuse  you  a  photograph.  Address  her 
Cosmopolitan  Studios,  Second  Ave.  and  One 
Hundred  and  Twenty-seventh  St. 

[  continued  on  page  97  ] 


9J 


It  wasn't  easy  to  tell  him 


BARTON  faced  an  unpleasant  job  that  morning.  As  sales  manager  it 
became  his  duty  to  speak  to  one  of  his  men — an  ambitious  man,  yet 
unsuccessful — on  a  subject  almost  universally  avoided  by  everyone. 

There  was  something  about  this  man  that  was  holding  him  back — some 
invisible  something  that  became  a  silent  indictment  against  him  and 
seemed  to  offset  every  other  admirable  quality  he  had  in  his  favor. 

Repeatedly  it  stood  between  him  and  an  excellent  order.  And  the  pity 
of  it  all  was  that  the  man  himself  was  utterly  unaware  of  what  his  handicap 
was. 

Of  course,  it  wasn't  an  easy  thing  for  Barton  to  tell  him.  But  the  sales 
manager  had  studied  and  observed  his  man,  had  found  the  cause  and  then, 
fortunately,  had  the  courage  to  tell  him. 

Almost  immediately  the  results  showed.  Within  sixty  days  this  sales- 
man's orders  doubled — then  tripled! 

It  had  been  a  hard  jolt  at  the  time  but  it  did  him  a  lot  of  good. 


That's  the  insidious  thing  about  hali- 
tosis (unpleasant  breath).  You,  yourself, 
rarely  know  when  you  have  it.  And 
even  your  closest  friends  won't  tell  you. 

Sometimes,  of  course,  halitosis  comes 
from  some  deep-seated  organic  disorder 
that  requires  professional  advice.  But 
usually — and  fortunately — halitosis  is  only 
a  local  condition  that  yields  to  the  regular 
use  of  Listerine  as  a  mouth  wash  and 
gargle. 

It  is  an  interesting  thing  that  this  well- 
known  antiseptic  that  has  been  in  use  for 
years  for  surgical  dressings,  possesses 
these    peculiar    properties    as    a    breath 


deodorant.  It  halts  food  fermentation  in 
the  mouth  and  leaves  the  breath  sweet, 
fresh  and  clean.  So  the  systematic  use  of 
Listerine  puts  you  on  the  safe  and  polite 
side.  You  know  your  breath  is  right. 
Fastidious  people  everywhere  are  making 
it  a  regular  part  of  their  daily  routine. 

Your  druggist  will  supply  you  with 
Listerine.  He  sells  lots  of  it.  It  has 
dozens  of  different  uses  as  a  safe  antiseptic 
and  has  been  trusted  as  such  for  a  half 
a  century.  Read  the  interesting  little 
booklet  that  comes  with  every  bottle. — 
Lambert  Pharmacol  Company,  Saint  Louis, 
U.  S.  A. 


HALITOSIS 


use 
LISTERINE 


When  you  write  to  advertisers  1  >ase  mention  PHOTOPLAY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


(bach   soft  oaiess 
adds  loveliness! . 

THIS  beauty  acces* 
sory  sets  a  new 
standard  of  puff  dainti' 
ness.  Its  characteristic 
soft  caress  spreads 
powder  evenly  with' 
out  waste.  Your  dis' 
cerning  eye  will  at 
once  note  the  superior- 
looming  qualities  and 
workmanship  of  the 
Gainsborough  Powder 
Puff.  A  size  to  fit  each 
individual  taste. 

THE  WESTERN  COMPANY 

Chicago    •    New  York 


GAINSBOROUGH  POWDER 
PUFFS  are  made  in  all  sizes  to 
6uit  your  needs  —  rich,  velvety 
Velour  or  soft,  deep-piled  Aus- 
tralian lamb's  wool. 
The  workmanship  is 
perfect.  Compare 
them  with  any  puffs 
VOU  have  ever  used. 


Each  packed  in  attrac- 
tive sanitary  dust-proof 
container.  Your  hands 
are  the  first  to  touch 
them. 

Prices:   10  cents  to  75  cents 


"The  Face  on  the  Cutting  Room  Floor 

By  Peter  Milne 


It 


Tl  I  E  most  tragic  thing  in  the  world,  from 
the  viewpoint  of  the  ambitious  actor 
cast  to  support  some  star,  is  "The  Face 
on  the  Cutting  Room  Floor." 

He  gives  a  performance  full  of  feeling  and 
fire  and  life.  "When  the  public  sees  this,"  he 
muses  to  himself,  "I'll  be  recognized  as  an 
artist."  Confidently  he  goes  to  see  the  com- 
pleted picture  and  watches  for  his  great  work 
to  appear  on  the  screen.  Climax  after  climax- 
passes  and  the  final  fadeout  moves  inevitably 
nearer,  And  when  at  last  the  theater  lights  go 
up  the  actor  leaves  stunned;  wondering,  if  he 
be  new  at  the  business,  where  his  great  per- 
formance has  gone.  It  has  been  erased  as 
surely  as  though  there  were  such  a  thing  as  a 
film  eraser. 

The  performance  lies  on  the  cutting  room 
floor  perhaps  by  order  of  the  star  or  because 
"footage"  had  to  be  sacrificed  to  bring  the 
picture  down  to  the  prescribed  length.  The 
cutting  room  floor  of  any  studio  is,  as  the  sub- 
titles would  say,  a  place  of  shattered  hopes  and 
blasted  ambitions. 

The  real  tragedy  of  the  situation  lies  in  the 
fact  that  more  often  an  actor's  face  reaches  the 
cutting  room  floor  because  the  star  so  wills  it 
than  for  the  legitimate  reason  of  getting  the 
footage  down.  The  star  system,  or  the 
system  of  director  favoritism,  revolves  around 
the  principle  of  subordinating  everything  in 
the  picture  to  a  single  individual.  Thus,  if  a 
supporting  actor  is  so  good  in  his  part  that  he 
distracts  attention  from  the  star,  the  cutter's 
shears  are  wielded — with  the  result  that  a  good 
performance  is  transformed  into  a  negative 
piece  of  work. 

A  GLARING  instance  of  this  practice  was 
furnished  in  the  production  of  a  mystery 
play.  Marie  Shotwell,  a  highly  capable 
actress,  was  cast  for  the  role  of  the  medium, 
the  logical  important  part.  A  certain  young 
actress  was  awarded  the  ingenue  role,  a  com- 
paratively unimportant  part. 

But  the  ingenue  was  to  be  starred  and  the 
scenario  was  so  constructed  that  her  role 
assumed  proportions  equal  to  that  of  the 
medium.  When  the  picture  was  first  viewed 
it  was  discovered  that  Miss  Shotwell,  by 
reason  of  her  opportunities  and  ability,  had 
dominated  the  picture.  The  ingenue  was 
decorative,  but  merely  that.  By  the  director's 
order  and  despite  the  frantic  objections  of 
others  interested  in  the  picture,  much  of  Miss 
Shotwell's  excellent  performance  ultimately 
decorated  the  cutting  room  floor.  The  produc- 
tion was  reduced  materially  in  worth.  Close- 
ups  of  the  ingenue  replaced  the  fine  acting  of 
Miss  Shotwell. 

Charles  Gerrard,  whose  villainies  have  been 
recorded  on  the  screen  for  many  years,  is  a 
heavy  contributor  to  the  cutting  room  floor. 
Tt  is  literally  strewn  with  his  false  faces.  One 
of  his  experiences  is  amusing  in  the  telling.    In 


"The  World  and  His  Wife,"  made  several 
years  ago,  he  was  called  upon  to  die  gracefully 
at  the  point  of  a  rapier.  Mr.  Gerrard  obliged 
with  a  noble  death  scene.  But  it  never  reached 
the  public,  this  time  because  Montagu  Love 
who  played  a  more  prominent  role  also  had  to 
die  a  matter  of  a  few  hundred  feet  later  on! 
Doubtless  the  executive  who  ordered  the  cut 
figured  that  too  many  deaths  spoiled  the 
picture. 

According  to  all  authentic  reports,  Mme. 
Petrova,  during  her  time  on  the  screen,  caused 
the  cutting  room  floor  to  be  littered  with  many 
a  fine  and  promising  face.  There  was  room  for 
little  of  a  supporting  performance  when  all 
justice,  from  Madame's  viewpoint,  was  given 
her  profile. 

Mary  Astor,  now  playing  leads,  made  her 
bow  in  features  in  "Sentimental  Tommy,"  or 
rather  she  was  supposed  to.  She  appeared  in 
one  short  sequence  with  Gareth  Hughes  and 
did  a  very  nice  piece  of  work.  But  when  it 
came  to  the  cutting  of  the  picture  it  was  found 
that  much  that  was  meritorious  in  action  and 
acting    had   to    be    removed. 

In  Miss  Astor's  case  it  was  merely  a  matter 
of  fame  delayed  for  a  short  time.  Others  are 
not  so  fortunate.  We  recall  an  extra  girl,  new 
at  the  game,  who  was  given  some  atmospheric 
close-ups  in  "The  Queen  of  the  Moulin  Rouge." 
She  thought  that  as  long  as  a  scene  was  taken 
it  would  be  used.  And  she  wrote  home  to  her 
friends  about  it.  But  the  close-ups  never  got 
beyond  the  cutting  room  floor.  The  extra  girl 
was  just  a  member  of  the  mass  in  the  back- 
ground. Possibly  she  felt  as  tragic  as  a  deposed 
monarch.  She  had  dreamed  of  glory;  she 
awoke  to  drab  actuality  with  a  rude  thud.  Not 
all  extras  have  the  fortune  of  Merton  Gill. 

The  discarding  of  good  performances  because 
of  the  fears  and  jealousies  of  stars  is  nothing  for 
motion  pictures  to  be  proud  of.  The  idea  of 
such  subordination  is  ridiculous.  Norma 
Talmadge  doesn't  do  it  and  Miss  Talmadge  is 
one  of  the  most  popular  stars  of  the  screen. 
Eugene  O'Brien  became  a  star  because  of  the 
opportunities  he  received  in  roles  opposite  her. 
He  might  still  be  one  today  if  his  managers  had 
followed  the  Talmadge  policy  and  given  his 
leading  women  full  opportunity. 

Charlie  Chaplin's  greatest  picture  is  "The 
Kid."  It  precipitated  Jackie  Coogan  to  star- 
dom. Suppose  Chaplin  had  discarded  Jackie's 
good  scenes  because  of  professional  jealousy? 
He  would  have  deprived  the  screen  of  its 
freshest  star  and  himself  of  much  of  the  fame 
that  is  his  today. 

It  is  very  simple  to  remove  the  highlights  of 
good  supporting  performances.  Important 
action  is  usually  taken  in  close-ups  as  well  as 
from  longer  angles.  If  the  supporting  actor  is 
behaving  too  well  in  close-ups  they  may  be 
removed  at  the  star's  order  and  the  same 
expressions  are  then  shown  in  the  longer  shots, 
but  with  less  stimulating  effect. 


Does  the  Camera  Lie?     Certainly! 

It  lies  for  the  infinitely  greater  enjoyment  of  motion  picture  patrons.  It 
shows  on  the  screen  scenes, that  would  be  impossible  of  depiction  if  the 
camera  told  only  the  exact  truth.  It  creates  illusions  at  the  cost  of  a  few 
cents  which,  if  they  were  truthfully  done,  would  cost  thousands  of  dollars. 
And  it  creates  and  maintains  these  illusions  artistically  and  convincingly. 

In  the  September  number  of  PHOTOPLAY 

the  art  of  lying  as  exemplified  by  the  camera  will  be  told  in  detail.  The 
article  will  not  expose,  but  will  explain  "glass  work,"  double  exposure, 
double  printing,  miniature  sets  and  others  of  the  latest  and  most  effective 
tricks  of  the  trade.  DON'T  MISS  IT!  It  will  tell  you  many  things 
you  don't  know  and  will  increase  your  enjoyment  of  the  pictures. 


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Questions  and  Answers 

[  CONTINUED  FROM  PAGE  95  ] 

E.  K.,  San  Francisco. — Charles  Ray,  as 
soon  as  he  had  finished  the  picture  founded  on 
James  Whitcomb  Riley's  poem,  "The  Girl  I 
Loved,"  plunged  at  once  into  the  complexities 
of  "The  Courtship  of  Miles  Standish."  Re- 
member Miles,  don't  you?  The  bluff  Puritan 
captain  who  hadn't  the  nerve  to  ask  a  girl  to 
marry  him?  Sent  his  friend  to  ask  her. 
You've  guessed  it.  She  married  the  friend. 
Girls  don't  like  the  "fresh"  young  man.  But 
they  can't  stand  one  who  has  no  nerve.  Lots 
of  truth  in  that  "  Faint  heart  never  won"  stuff. 

G.  A.  L.  C,  Cooperstown,  N.  Y. — Pleased 
to  meet,  even  though  only  through  the  medium 
of  scented  pink  note  paper,  a  "faithful  reader 
of  Photoplay  Magazine."  As  you  say,  the 
young  man  who  played  opposite  Irene  Castle 
in  "Slim  Shoulders"  is  especially  good  looking. 
And  your  memory  serves  you  well  in  recording 
that  his  hair  is  dark.  The  actor  who  is  the 
subject  of  your  pleasant  recollections  is  Rod 
La  Roque.  He  will  appear  in  "The  French 
Doll"  with  Mae  Murray. 

G.  L.  S.,  Kansas  City,  Mo.— No.  Send  the 
aspirant  to  the  nearest  motion  picture  studio. 
A  personal  visit  is  more  effectual  than  a  photo- 
graph. Tell  him  to  offer,  if  need  be,  to  work 
as  an  extra.     Many  stars  began  that  way. 

Wilhelmina  of  Texas. — Lottie  Pickford  is 
closely  related  to  Mary  Pickford.  In  short, 
her  sister.  Douglas  Fairbanks  may  be  char- 
acterized as  a  wag  described  his  wife  to  the 
census  taker,  "Sweet  forty." 

Miss  Movie  Mad,  Beverly,  Mass. — 
August,  moonlight  and  movie  madness  are  a 
romantic  combination  pointing  toward  a  sen- 
timental complex.  Constance  Talmadge's 
leading  man  is  Edward  Burns.  Born  thirty- 
one  years  ago  in  Philadelphia.  He  is  married. 
I  suggest  that  you  write  him  of  your  admira- 
tion of  his  art  and  personality  care  Metro 
Pictures  Corporation,  729  "Seventh  Ave.,  New 
York.  Let  me  know  the  result.  If  he  does  not 
personally  answer  the  missive  of  so  charming 
a  "movie  maniac"  I  will  decline  rudely  his 
next  invitation  to  play  pinochle.  This  is  a 
rushing  age.  Business  is  the  common  denom- 
inator of  life.  But  we  must  not  stunt  our 
chivalrous  instinct  through  lack  of  its  exercise. 
I  will  tell  Edward  of  your  girlish  admiration, 
when  I  see  him. 

Baby  Blue  Eyes,  Altoona,  Pa. — Since  you 
are  choosing  a  nom  de  plume  why  not  reverse 
it?  Call  yourself  a  Blue  Eyed  Baby?  The 
girl  guessed  right  the  very  first  time.  De 
Vaca,  whose  performance  engaged  your  in- 
terest, was  William  Powell.  He  played  Duke 
Francis  in  "When  Knighthood  Was  in  Flower." 

George  Seitz  Fan. — Mr.  Seitz  is  fulfilling 
his  wish  to  become  a  director.  He  is  directing 
for  Pathe  "The  Way  of  a  Man."  That  is  the 
story  purchased  by  Pathe  from  Emerson 
Hough  a  short  time  before  Mr.  Hough's  death. 
Mr.  Hough  was  a  writer  of  tales  of  adventure, 
that  took  place  usually  in  the  West.  "The 
Covered  Wagon"  is  a  picturization  of  his 
story.  Mr.  Hough  died  a  week  after  the  play 
had  been  greeted  as  a  masterpiece.  His  death 
at  sixty,  after  a  life  of  assiduous  labor  with 
pen  and  imagination,  leaving  an  estate  of 
$20,000,  was  another  proof  of  the  precarious- 
ness^of  the  writing  profession.  Yet  everyone 
wants  to  write  as  everyone  wants  to  act. 

Maid  of  Maryland. — Assuredly  your  de- 
sire to  know  more  about  your  fellow  townsman, 
whom  you  have  never  met,  but  of  whom,  to 
quote  your  kindly  phrase  "everyone  speaks 
most  highly"  is  a  legitimate  one.  Ralph 
Bushman  has  returned  to  Hollywood.  He  is 
about  twenty-one. 

[  CONTINUED  ON  PAGE  102  ] 


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touch  of  Resinol  Soap  to  give  to  the  skin  that 
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ness which  everyone  admires. 

What  is  more  disheartening  than  a  skin  that  is 
rough,  coarse,  red  and  spotted  with  clogging  im- 
purities? Yet  frequently  the  excessive  perspira- 
tion of  summer,  combined  with  dust,  powder  and 
the  natural  oil,  produces  just  this  condition. 
There  is  only  one  way  to  prevent  it.  Keep 
your  skin  clean!     Use  plenty  of  soap. 

Resinol  Soap  is  the  ideal  cleanser. 

It  gives  a  profuse  lather  that,  despite 

its  airy  daintiness,  possesses  just  the 

requisite  properties  to  allay  the  heat 

of  sunburn  and  refreshingly  cleanse 

the  pores — dissolving  the  impurities 

and  bringing  out  one's  hidden 

beauty.     Men  delight  in  its 

invigorating  fragrance  and  its 

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trial  size  cake.  Write  Dept.  . 
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from  your  druggist  or  toilet 
goods  dealer.  They  all  sell  it. 


'     "  ' 


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The  Romantic  History  of  the  Motion  Picture 


shoe  McCoy,  the  Edison  agent. 

The  next  day  Mark  M.  Dintenfass  of  the 
Actophone  was  served  with  the  papers  in  an 
injunction  suit.  The  papers  included  the  name 
and  serial  number  of  the  infringing  camera. 

From  then  on  raged  a  legal  battle.  Dinten- 
fass fought  to  the  last  ditch,  continuing  the 
while  to  use  the  camera. 

Three  times  he  had  been  brought  into  court 
on  injunction  suits  and  twice  he  had  been  up 
for  contempt.  He  was  violently  and  flagrantly 
in  contempt  of  United  States  Court.  Patents 
Company  lawyers  were  pushing  him  hard.  To 
put  this  daring  arrogant  independent  behind 
the  bars  would  have  a  vast  salutary  effect  on 
the  whole  troublesome  independent  movement. 
It  would  put  fears  in  the  hearts  of  the  insur- 
rectionists and  shut  down  the  flow  of  unlicensed 
film. 

Dintenfass  paced  the  floor  at  the  Actophone 
studio  and  swore  salty  oaths  to  himself.  There 
seemed  to  be  no  way  out.  The  finish  was  at 
hand.  He  wished  he  had  stayed  in  the  herring 
business  with  his  father.  He  pictured  himself 
languishing  in  jail,  with  the  lawyers  for  the 
Patents  Company  derisively  grinning  at  him 
through  the  bars.  The  next  day  he  was  to  be 
called  for  sentence. 

All  these  reflections  and  reviews  with  jail  just 
ahead  brought  up  many  a  memory  and  out  of 
the  maze  of  them  a  name  that  seemed  like  a 
flash  of  deliverance. 

"Hans  Von  Brisen!" 


IT  was  his  thoughts  of  his  European  travels 
in  the  salt  herring  days  that  brought  this 
name  back  to  mind  after  many  years.  Way 
back  in  1902,  when  Dintenfass  was  merrily 
touring  the  fishing  ports,  he  had  struck  up  an 
acquaintance  and  friendship  with  young  Hans 
Von  Brisen,  son  of  one  of  New  York's  most 
celebrated  international  patent  lawyers. 

In  Glasgow,  Scotland,  they  parted. 

"Look  me  up  sometime  when  you  get  back 
to  New  York,"  Von  Brisen  said  with  his  good- 
bye. 

Seven  years  had  passed  and  now,  thought 
Dintenfass,  surely  the  "sometime"  had  come. 
Dintenfass  was  sorely  in  need  of  both  a  friend 
and  some  high  powered  legal  advice. 

Dintenfass  hurried  downtown  and  presented 
himself  at  Von  Brisen's  offices.  There  was  a 
handshake  and  a  brief  chat  about  the  old  days 
and  Europe. 

"What  are  you  doing  now?" 

"I  am  on  my  way  to  jail — unless  you  can  do 
something." 

Then  the  whole  tangled  story  came  out. 

Von  Brisen  went  to  a  telephone.  He  argued 
long  and  hard  for  Dintenfass.  There  was  a 
suggestion  that  Dintenfass  be  taken  in  and 
licensed  by  the  Patents  company. 

"That  pirate,  never!" 

Presently  Von  Brisen  laid  down  the  situation 
to  Dintenfass. 

"  There  is  only  one  way  out,  you  have  got  to 
quit,  get  out  of  this  picture  business  and  stay 
out.  If  you  will  agree  to  that  and  stay  by  it 
you  will  not  have  to  go  to  jail." 

Dintenfass  promised  and  departed.  That 
was  the  end  of  his  court  troubles. 

But  a  few  weeks  of  repentance  healed  his 
fears  and  presently  Dintenfass  was  set  up 
again  making  pictures  in  a  tiny  shack  hidden 
in  the  deep  woods  that  crown  the  Palisades  of 
New  Jersey  near  Coytsville. 

Soon  the  detectives  of  the  Patents  Company 
were  on  the  trail  again,  suspicious  but  not  cer- 
tain. Dintenfass  was  filled  with  alarm.  If  he 
was  found  now  this  time  there  would  be  no 
chance  of  clemency. 

But  he  would  not  quit  the  motion  pictures. 
Money  was  there  to  be  had,  easy  money  and 
lots  of  it.  An  inspiration  came  to  him.  The 
one  safe  place  for  him  to  work  would  be  in  one 
of  the  Patents  Company's  own  studios.  They 
would  never  find  him  there.  Over  at  Phila- 
delphia on  a  roof  in  Arch  street  Sigmund  Lubin 


CONTINUED  FROM   PAGE   43  ] 

had  a  studio  that  was  no  longer  in  use.  Lubin's 
rapid  prosperity  in  the  film  business  with  the 
rise  of  the  Patents  Company  group  had  now 
outgrown  the  little  roof  plant.  Dintenfass 
slipped  away  to  Philadelphia  and  rented  the 
studio  from  Lubin.  It  was  just  a  little  personal 
deal,  one  that  Mr.  Lubin  did  not  feel  obligated 
to  report  to  the  Patents  Company.  On  the 
Arch  street  roof  Dintenfass  proceeded  with  his 
picture  making  undisturbed.  And  from  that 
day  until  this  there  has  been  a  mystery  about 
his  movements  and  the  trail  that  vanished  into 
thin  air  in  the  woods  of  Coytsville. 

"Pop"  Lubin  was  eminently  practical  in  his 
point  of  view  in  this  curious  transaction.  Per- 
haps too  he  had  a  certain  sympathy  with  the 
plight  of  Dintenfass.  Lubin  had  himself  been 
considerably  pursued  by  Edison  agents  and 
violently  litigated  against  in  the  early  days 
before  the  Patents  Company  peace.  Anyway, 
that  Arch  street  roof  was  idle  and  it  might  just 
as  well  be  earning  a  rental. 

In  that  safe  hiding  place  Dintenfass  pursued 
his  film  activities  undisturbed,  his  whereabouts 
for  that  period  remaining  a  mystery  to  the 
Patents  Company  from  that  day  onward  to  the 
publication  of  this  chapter.  Later  when  the 
war  between  the  Independents  and  the  Patents 
group  had  really  joined  issue  in  a  big  test  case, 
Dintenfass,  no  longer  in  personal  peril,  emerged 
to  play  an  erratic  and  spectacular  part  in  film 
history.  He  will  be  recalled  by  the  motion  pic- 
ture patrons  of  today  as  the  producer  of 
one  of  the  big  screen  successes  of  the  war,  the 
picturization  of  Ambassador  Gerard's  "My 
Four  Years  in  Germany." 

"Pop"  Lubin's  sub-rosa  share  in  this  phace 
of  the  rise  of  the  independents  recalls  an  inci- 
dent of  the  same  period  in  which  is  illustrated 
something  of  his  humor,  and  which  as  well  indi- 
cates how  much  the  motion  picture  through 
successive  stages  had  tended  to  inherit  its 
ancient  outlawries.  One  of  the  early  official 
acts  of  the  Patents  Company  was  a  piece  of 
internal  discipline,  involving  Lubin. 

The  charge  was  gravely  made  that  one  of  the 
licensed  Melies  pictures  had  been  "duped"  or 
copied  in  the  Lubin  plant.  A  meeting  was  held 
at  the  company  offices  at  80  Fifth  avenue. 

Lubin  listened  in  silence. 

"The  fine  will  be  one  thousand  dollars." 

This  stirred  "Pop"  to  protest. 

"I  didn't  dupe  it,"  Lubin  exclaimed.  "I 
don't  dupe  pictures — I  make  them.  Besides, 
you  all  do  it.  Besides  I  didn't  make  any 
money  on  it  and  I  won't  pay  any  fine." 

And  he  did  not. 


THE  Patents  Company  became  rapidly  ex- 
ceedingly busy  in  the  pursuit  of  infringing 
independents.  Among  those  most  vigorously 
attacked  in  the  courts  was  William  Steiner,  an 
exchangeman  mentioned  in  earlier  chapters  in 
connection  with  Paley  &  Steiner's  "Crescent 
Star  Films"  and  again  as  a  figure  in  the  New 
York  exhibitor's  fight  against.  Mayor  Mc- 
Clellan's  closing  order. 

Steiner  brought  down  the  wrath  of  the  Pat- 
ents Company  by  starting  a  producing  concern 
under  the  patriotic  brand  name  of  Yankee, 
with  Herbert  Miles  as  a  partner.  The  head  of 
Yankee  films  was  promptly  served  with  the 
papers  and  haled  into  United  States  court  on 
injunction  proceedings.  A  remarkable  defense 
ensued,  one  of  the  mysteries  and  jokes  of  the 
film  industry  ever  afterward. 

Steiner  insisted  that  he  was  entitled  to  make 
pictures  because  he  had  discovered  an  abso- 
lutely new  and  non-infringing  camera  which 
did  not  embody  any  of  the  features  of  the 
Patents  Company  cameras.  He  was  ordered  to 
produce  the  camera  in  court.  Thereupon  came 
forward  a  black  box  containing  an  amazing 
mess  of  gears,  clock  work  belts,  bands,  lenses, 
springs  and  whatnot.  It  made  a  noise  like  a 
mowing  machine  gnawing  its  way  through 
heavy  clover. 

"That  is  a  hoax,  your  honor,— that  device 


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will  not  make  a  picture,"  the  lawyers  for  the 
plaintiff  informed  Judge  Lacombe. 

"But  it  will  make  pictures — it  makes  mine,'" 
Steiner  insisted. 

The  court  decided  on  a  test.  He  appointed 
two  professors  from  the  faculty  of  Columbia 
University  to  supervise  the  tests,  which  were 
to  be  made  by  Steiner's  cameraman. 

Up  at  the  Yankee  studio  some  secret  prepa- 
rations for  the  test  were  made.  A  set  was 
erected  and  actors  in  make-up  performed  for  a 
scene,  which  was  duly  photographed  with  the 
infringing  imported  Warwick  camera  with 
which  Yankee  did  all  its  work.  The  floor  was 
chalk  marked  so  the  set  could  be  restored,  pre- 
cisely as  it  had  been.  Then  the  film  was 
developed  and  fixed  in  the  regular  manner. 
The  last  process  in  film  making  is  the  final 
rinse  in  deep  washing  tanks,  in  the  dark  rooms. 
This  film  was  left  in  the  wash  tank,  submerged 
and  pinned  to  the  side  where  it  could  be  readily 
located  in  the  dark. 

When  that  afternoon  the  experts  from 
Columbia  appeared  the  hoax  "camera"  was 
brought  out  and  solemnly  charged  with  film. 
The  set  was  erected  and  the  actors  came  forth 
and  repeated  the  scene  as  before.  The  pro- 
fessors watched  the  process  with  the  most  con- 
scientious care.  When  the  camera  was  taken 
into  the  dark  room  for  the  removal  and  devel- 
opment of  the  film  they  stood  on  either  side  of 
the  operator,  each  with  a  hand  on  his  arm,  to  be 
sure  no  substitution  could  be  made.  The  film 
was  put  through  a  series  of  chemical  baths. 
Then  holding  the  wet  strip  in  his  hands  the 
cameraman,  the  professors  clinging  to  his 
arms,  moved  over  to  the  wash  tank. 

"One  more  dip  in  here  and  it'll  be  done,"  he 
said,  as  he  leaned  over  the  black  water,  the 
experts  clinging  to  him.  Down  under  the 
water  he  dropped  the  film  of  the  test  and  leav- 
ing it  in  the  tank  came  up  with  the  excellent 
Warwick  made  specimen  that  had  been  pinned 
there  awaiting  him. 

THE  hoax  camera  was  vindicated,  in  the  eyes 
of  the  experts.  They  reported  to  Judge 
Lacombe  that  the  Yankee  special  camera  did 
indeed  make  pictures.  They  had  seen  it  done, 
and  attached  a  specimen  to  the  report. 

Amid  the  reverberating  roars  of  Patents 
Company  lawyers  Judge  Lacombe  threw  the 
case  out  of  court  and  William  Steiner  with  his 
partner,  Herbert  Miles,  of  Yankee  films -went 
marching  on. 

There  is  an  occasion  for  pause  here  to  reflect 
on  the  significance  of  these  foreign  made 
cameras,  the  Pathes  and  Warwicks,  with 
which  the  independents  were  equipping  their 
guarded  studios.  Readers  who  have  followed 
this  history  through  its  seventeen  chapters  will 
recall  that  day,  seventeen  years  before  the  day 
of  the  Patents  Company,  when  Thomas  A. 
Edison  refused  to  spend  a  hundred  and  fifty 
dollars  to  get  foreign  patents  on  the  kineto- 
scope,  his  peep  show  picture  machine.  "It 
isn't  worth  it,"  he  said  then.  Now  in  1909  the 
kinetoscope  was  back  from  overseas,  full 
grown  and  a  thorn  in  the  motion  picture  side  of 
its  inventor.  Through  the  Edison  and  Bio- 
graph  American  patents  the  Patents  Company 
could  absolutely  control  American  made  cam- 
eras, but  the  failure  to  patent  the  kinetoscope 
abroad  opened  the  way  for  foreign  makers  of 
both  cameras  and  film. 

While  these  court  clashes  were  in  progress 
the  Edison  Company  made  a  move  that  had  an 
unexpected  effect  of  far-reaching  consequences 
in  subsequent  film  affairs.  It  will  be  recalled 
from  an  earlier  chapter  that  Frank  N.  Dyer, 
who  had  been  Edison's  personal  attorney  for 
some  years,  succeeded  William  E.  Gilmore  as 
general  manager  of  Edison  enterprises.  Dyer 
was  now  in  executive  charge  of  Edison's  picture 
affairs  and  also  was  president  of  the  Patents 
Company.  Over  at  Montclair,  New  Jersey, 
where  Dyer  golfed,  he  struck  up  a  friendship  on 
the  links  with  a  neighbor,  Horace  Plimpton,  a 
carpet  dealer.  Plimpton  desired  a  change  and 
discussed  motion  pictures,  the  new  and  coming 
business.  Presently  Edwin  S.  Porter,  the 
director   in   charge  of   Edison   pictures,   was 


99 


Millions  of  American  women  voted  for  President  in  1920 
and  are  finding  time  to  take  active  interest  in  civic  affairs 


The  suffrage  and  the  switch 


Woman  suffrage  made  the 
American  woman  the  politi- 
cal equal  of  her  man.  The  lit- 
tle switch  which  commands 
the  great  servant  Electricity 
is  making  her  workshop  the 
equal  of  her  man's. 

No  woman  should  be  required 
to  perform  by  hand  domestic 
tasks  which  can  be  done  by 
small  electric  motors  which 
operate  household  devices. 


The  General  Electric 
Company  is  working 
side  by  side  with 
your  local  electric 
light  and  power  com- 
pany to  help  lift 
drudgery  from  the 
shoulders  of  women  as 
well  as  of  men. 


GENERAL  ELECTRIC 


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Photoplay  Magazine — Advertising  Section 


One  stubborn  spot 

holds  or  withholds 

daintiness! 

WHAT  more  delicious  feeling  than  that 
as  we  come  from  the  bath,  fresh 
clothed,  confident  of  perfect  cleanliness! 
How  we  enjoy  the  fastidious  rites  of  per- 
sonal daintiness! 

And  yet,  too  often,  we  are  oiw-confident. 

For  there  is  one  small  stubborn  spot 
which,  thoughtlessly  neglected,  can  utterly 
destroy  daintiness.  Because  of  perspira- 
tion moisture  and  odor,  the  underarm  re- 
quires more  than  soap  and  water;  it  must 
have  special  care.  Millions  of  dainty 
women  are  giving  it  this  care  through  the 
two  perfect  ways  now  offered  by  the  under- 
arm toilette. 

ODORO-nO 

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corrective.  A  harmless,  an- 
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ular use  twice  a  week  will 
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dry  and  odorless  and  protect 
clothing  from  all  stain  and 
odor.  Millions  of  men  and 
women  now  depend  on  Odo- 
rono as  their  one  complete 
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rm.    i 


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Because  it  vanishes  at  once 
and  is  non-greasy,  it  may  be 
used  when  dressing  without 
danger  of  stain  or  spot  to 
clothing.  Smooth  and  soft, 
it  will  not  harden  or  dry  up. 
Men,  too,  like  its  conven- 
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ence or  quick,  special  use. 
Particularly  nice  for  travel- 
ing.    Large  tube,  25c. 

Send  for  Samples 

Send  6c  for  sample  Creme  Odorono;  for  10c  sam- 
ples Liquid  Odorono  and  Odorono  Depilatory  will 
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pany, 908  Blair  Ave.,  Cincinnati,  Ohio 


notified  that  Plimpton  would  be  in  charge. 
Porter  objected  and  was  over-ruled  and  re- 
signed, departing  in  some  considerable  annoy- 
ance. But  Porter  had  foreseen  at  least  dimly 
t  he  coming  of  the  day  when  he  would  be  out  for 
himself  and  he  carried  with  him  an  experience 
and  technique  worth  more  than  the  job  he  left 
behind.  This  was  in  October,  1909,  twelve 
years  since  the  day  when  he  went  touring  the 
West  Indies  with  the  first  motion  pictures  as 
"Thomas  Edison,  Jr." 

Over  at  the  Actophone  studios  where  Din- 
tenfass  was  making  his  stand  Porter  directed  a 
picture.  Then  he  joined  with  William  Swan- 
son,  his  old  friend  of  the  carnival  days,  and 
formed  the  Rex  Motion  Picture  Company. 
Lois  Weber  and  Phillips  Smalley  were  engaged 
for  the  first  cast,  and  a  new  line  of  independent, 
unlicensed  production  was  begun. 

All  of  the  licensed  studios  were  prospering 
under  the  control  of  the  business  established  by 
the  Patents  Company,  and  the  demand  for  film 
was  increasing  weekly.  With  the  growing 
assurance  of  their  position  the  licensed  studios 
went  forward  with  large  betterments  and  a 
great  display  of  prosperity.  The  independents 
were  only  nibbling  at  the  edges  of  the  motion 
picture  bonanza. 

J.  Searle  Dawley,  who  had  come  from  the 
Spooner  Stock  Company  to  be  Edwin  S. 
Porter's  assistant  at  the  Edison  studio,  re- 
mained under  Plimpton's  administration  and 
the  stock  company  of  Edison  actors  expanded. 

Among  the  best  known  players  introduced  to 
the  screen  in  this  period  was  Edwin  August 
Phillip  von  der  Butz,  who  came  with  some 
stage  repute  and  an  experience  that  began 
with  the  role  of  Little  Lord  Fauntleroy  at  the 
age  of  eight.  To  the  world  of  the  motion  pic- 
ture he  is  known  as  Edwin  August.  He  played 
for  a  few  weeks  with  the  Edison  stock  com- 
pany and  then  went  to  Biograph,  where  he 
appeared  in  many  a  famous  production,  along 
with  Mary  Pickford,  Kirkwood,  Walthall  and 
the  rest. 

THE  conservative  minded  chiefs  of  the  Pat- 
ents Company  group  were  distinctly  op- 
posed to  publicity  for  players.  They  had 
observed  the  costly  salaries  that  theatrical 
managers  had  to  pay  for  stars  who  caught  the 
public's  favor,  and  they  did  not  want  a  parallel 
experience  for  the  motion  picture. 

But  across  the  Atlantic  the  public  wanted 
stars  and  personalities.  The  foreign  selling 
agents  of  American  film  met  the  demand  by 
inventing  names  for  the  favorite  players,  play- 
ing a  bit  upon  patriotic  preferences  in  their 
fabrications.  The  foreign  screen  names  for 
Edwin  August  afford  an  excellent  example.  In 
England  he  was  billed  in  the  pictures  as 
Montague  Lawrence,  in  Australia  as  Wilkes 
Williams,  in  Ireland  as  John  Wilkes,  in  Ger- 
many as  Karl  von  Bussing,  and  in  the  Orient 
as  David  Courtlandt. 

The  foreign  literature  of  the  films  came  back 
to  the  United  States  and  reached  the  studios. 
Actors  and  directors  on  occasion  ventured  to 
suggest  screen  credits.  They  were  frowned 
upon  and  dismissed  abruptly. 

But  the  value  of  the  familiar  faces  and  the 
selling  force  of  familiar  names  was  dimly  recog- 
nized and  slowly  the  motion  picture  yielded  to 
pressure.  August  28,  1909,  the  Edison  Com- 
pany broke  all  precedent  and  mentioned  the 
name  of  Cecile  Spooner,  famous  stage  star,  in 
the  advertising  of  their  picture  version  of 
"The  Prince  and  the  Pauper."  Miss  Spooner 
played  both  the  role  of  Tom  Canty,  the  poor 
boy,  and  the  part  of  the  Prince  of  Wales.  Miss 
Spooner's  name  was  used  in  the  advertising  for 
the  value  that  it  might  have  in  impressing  the 
trade,  but  there  was  no  thought  of  using  it  on 
the  screen  in  behalf  of  the  public  to  which  she 
was  well  known. 

Vitagraph  was  next  to  creep  over  the  line 
with  a  faint  suggestion  of  star  policy.  Novem- 
ber 2,  1909,  Vitagraph  announced  a  feature  of 
539  feet  in  length  entitled.  "Annette  Keller- 
man."  It  was  a  topical  film  of  Miss  Keller- 
man's  diving  and  swimming  performances. 
The  title  really  had  no  dirci  t  relation  to  today's 


star  dominance  of  screen  credits. 

May  20,  1909,  Theodore  Roosevelt  sailed 
away  to  Africa  for  his  now  historic  big  game 
hunting  expedition.  Colonel  Selig  out  in 
Chicago  had  his  eye  on  a  big  pictorial  oppor- 
tunity. He  proposed  to  scoop  the  world  on 
that  African  hunt.  From  a  circus  the  Colonel 
purchased  an  old  second  hand  lion,  slightly 
nioth  eaten,  for  six  hundred  dollars.  He  then 
instructed  Otis  Turner,  a  director  at  the  Selig 
Polyscope  plant  in  Irving  Park  boulevard,  on 
the  technique  of  lion  hunting.  An  actor,  whose 
name  has  been  lost  to  history,  was  made  up  as 
Theodore  Roosevelt  and  from  the  black  belt  of 
Chicago's  south  side  a  large  array  of  genuine 
ebony  porters  and  gunbearers  was  selected. 
They  were  not  informed  as  to  the  exact  char- 
acter of  the  picture  or  the  real  live  lion  which 
was  to  play  opposite.  A  jungle  set  was  built 
and  the  whole  enclosed  in  a  cage  before  the 
recording  eye  of  the  camera. 

The  actor  cast  as  Roosevelt  was  more 
familiar  with  a  pick  than  a  big  game  rifle  so  it 
was  deemed  best  to  have  his  picture  weapon 
loaded  with  a  blank  cartridge,  while  the  real 
shooting  would  be  done  by  a  naval  reserve  man 
with  a  big  government  rifle.  They  rehearsed 
everybody  but  the  lion,  which  seemed  to  be  in 
a  bad  humor. 

A  T  the  appointed  time  the  lion  was  released 
■*»■  while  Tom  Persons  turned  the  camera.  The 
actor  fired  his  blank  bravely  as  the  lion  ap- 
proached in  the  big  scene.  At  the  same  instant 
the  navy  man's  rifle  cracked,  and  merely 
annoyed  the  lion  with  a  wound  in  the  jaw.  The 
actor  took  to  the  top  of  the  cage  while  the  lion 
dived  into  the  depths  of  the  property  jungle. 
The  black  gunbearers  in  their  grass  skirts  dis- 
appeared in  the  tall  grass  in  the  general  direc- 
tion of  the  Chicago  Drainage  Canal  and 
haven't  been  heard  from  for  the  last  fourteen 
years. 

A  half  hour  of  beating  of  pans  and  coaxing 
led  the  lion  into  another  charge  and  he  was  at 
last  handsomely  slain  in  the  presence  of  the 
camera,  after  which  there  was  a  close  up  of  the 
actor  who  tried  to  look  like  Roosevelt  standing 
majestically  posed  over  his  kill. 

When  the  newspaper  cables  brought  word 
that  Roosevelt  had  shot  a  lion  the  picture  went 
out  entitled,  "Hunting  Big  Game  in  Africa." 
There  was  no  mention  of  Roosevelt's  name  and 
the  audience  was  permitted  to  make  its  own 
deductions.  If  the  public  wanted  to  believe 
that  this  was  indeed  Colonel  Roosevelt  shoot- 
ing lions  in  Africa  it  was  all  right  with  Colonel 
Selig. 

The  picture  was  such  a  marked  success  that 
Selig  determined  to  follow  it  with  others.  This 
was  the  beginning  of  a  long  series  of  jungle  and 
animal  pictures. 

At  Biograph,  Griffith  was  steadily  leading 
the  motion  picture  forward  to  a  new  and  more 
effective  technique,  evolving  methods  for  tell- 
ing a  dramatic  story,  and  training  the  stock 
company  that  was  growing  up  with  the  art. 

Historically  considered  one  of  the  most  im- 
portant pictures  of  the  year  was  "The  Little 
Teacher,"  in  which  the  title  role  fell  to  Mary 
Pickford.  This  picture  was  Mary's  first  real 
hit.  It  established  her  possibilities  rather 
clearly  in  the  mind  of  Griffith.  He  began, 
probably  unconsciously,  to  build  a  screen 
repute  for  her  by  designating  her  in  the  sub- 
titles of  Biograph's  subjects  as  "Mary."  It 
was  no  clear  intent,  because  Biograph  stead- 
fastly refused  to  give  any  screen  credits  at 
anytime  anywhere. 

Mary  Pickford  was,  however,  just  a  promising 
member  of  the  stock  company  then.  She  held 
no  position  of  special  attention.  Marion 
Leonard,  who  had  come  from  the  stage  with  a 
deal  of  melodrama  experience  behind  her,  was 
perhaps  the  most  highly  regarded  Biograph 
player  of  the  day.  Miss  Leonard,  it  is  inter- 
esting to  note,  had  played  in  a  number  of  pro- 
ductions with  Hal  Reid,  father  of  the  late 
Wallace  Reid.  It  is  worth  remembering,  too, 
that  she  appeared  in  the  original  role  of  Eunice 
in  "Quo  Vadis."  In  "Billy  the  Kid,"  a 
western  play,  she  was  a  member  of  the  same 


Every  advertisement  in  PTIOTOPT.AY  MAGAZINE  Is  guaranteed. 


.. 


Photoplay  Magazine — Advertising  Section 


ioi 


cast  with  Joseph  Santley,  Sidney  Olcott  and 
Robert  Vignola,  all  names  familiar  now  to  the 
motion  picture  public. 

Miss  Leonard's  first  picture  appearance  was 
with  Kalem  in  one  of  their  New  Jersey- Wild 
West  subjects  made  on  the  Palisades.  Griffith 
had  come  but  newly  into  his  directorship  at 
Biograph  in  1908  when  Miss  Leonard  applied 
there. 

"Too  blonde — blondes  don't  photograph 
well,"  the  studio  manager  was  explaining,  when 
Griffith  came  along  to  overhear  the  conversa- 
tion. He  disagreed.  Griffith  had  an  idea  that 
perhaps  blondes  might  do  well  on  the  screen. 
He  wanted  to  try  the  experiment.  Miss 
Leonard  worked  some  weeks,  alternating  leads 
with  Florence  Lawrence,  who  was  coming  into 
attention.  Miss  Lawrence  had  come  to  Bio- 
graph  from  Vitagraph  with  her  husband  Harry 
Salter,  who  had  been  on  the  stage  with  Griffith 
in  the  pre-picture  days.  Miss  Lawrence  was 
becoming  known  to  the  public  and  the  theater 
trade,  despite  the  anonymous  character  of 
Biograph  casts,  as  "The  Biograph'  Girl." 
There  was  trade-mark  value  in  the  name,  as 
presently  developed. 

Miss  Leonard  left  Biograph  for  the  road 
again,  then  presently  returned  to  New  York  to 
seek  a  new  engagement.  She  was  sitting  in  a 
vaudeville  show  at  the  American  theater  in 
Forty-second  street  when  some  one  tapped  her 
on  the  shoulder. 

"I've  come  to  kidnap  you." 

The  actress  turned  about  and  found  D.  W. 
Griffith  smiling  at  her.  Outside  in  the  street 
she  found  James  Kirkwood  awaiting  Griffith 
with  a  taxicab.  They  whirled  away  to  Bio- 
graph in  Fourteenth  street. 

This  approach  gave  Miss  Leonard  a  sudden 
access  of  courage.  She  dared  to  ask  for  a 
hundred  dollars  a  week,  a  salary  the  like  of 
which  had  never  been  even  whispered  in  the 
film  business  in  ioog.  Griffith  held  two  or 
three  front  office  conferences  and  they  com- 
promised at  seventy-five  dollars.  The  motion 
picture  was  getting  reckless  with  its  money. 
The  secret  of  the  payroll  leaked. 

"Seventy-five  a  week — say  this  business  is 
going  crazy!"  Mack  Sennett  commented  in  an 
awed  whisper. 

In  the  course  of  this  summer  Florence 
LaBadie,  an  artist's  model,  following  in  the 
footsteps  of  Mabel  Normand,  the  fashion  plate 
model,  came  to  Biograph  to  play  a  bit  and 
began  a  screen  career  which  made  her  one  of 
the  great  stars  of  the  screen  a  few  years  later. 

THE  demand  for  screen  stories  was  growing 
with  the  industry  and  rumors  of  easy  money 
"writing  for  the  pictures"  went  through  the 
gossip  channels  of  the  actor  tribes,  reaching 
picture  patrons  as  well.  The  beginning  of  the 
scenario  writing  craze  was  in  sight.  And 
through  this  the  motion  picture  added  some 
notable  figures  to  its  personnel. 

Out  in  San  Diego  Anita  Loos,  a  sixteen  year 
old  high  school  girl,  thought  she  had  an  idea 
for  a  picture  and  wrote  an  outline  entitled, 
"The  New  York  Hat."  She  addressed  it  to 
"Manager  Biograph  Studio,  New  York"  and 
dropped  it  in  the  mail. 

Little  Miss  Loos  of  course  had  something  of 
an  inkling  of  dramatic  technique.  Her  father 
was  R.  Beers  Loos,  a  newspaper  man  and  the 
proprietor  of  a  traveling  repertoire  show  de- 
voted to  blood  curdling  melodrama.  He  be- 
longed to  that  California  school  of  the  stage 
known  as  "The  Coast  Defenders"  because  of 
their  travels  up  and  down  the  Pacific  shores 
west  of  the  mountains.  It  was  in  its  way  a 
famous  dramatic  region,  too,  out  of  which  came 
such  well  known  names  as  Laurette  Taylor, 
Marjorie  Rambeau,  Blanche  Bates,  Frances 
Starr,  and  David  Belasco. 

Anita  Loos  was  not  permitted  to  play  in  her 
father's  wild  and  woolly  dramas,  but  she  had 
had  a  share  of  stage  experience  playing  the  part 
of  a  little  boy  with  Nance  O'Neil  in  "The 
Jewess"  some  three  years  and  again  appearing 
in  that  ancient  classic,  "East  Lynne." 

At  San  Diego  the  R.  Beers  Loos  company 
had  so  improved  its  status  that  little  Anita  was 


Athletic— yet  with  the  peach-bloom 
complexion  that  is  Beauty 

BATHING,  tennis,  golf,  motoring,  sailing — all  the  summer  sports 
that  a  girl  must  indulge  to  be  a  social  success  — what  havoc  they 
wreak  with  her  skin !  And  yet  if  she  cares  she  can  ward  off  the  bad 
effects  of  excessive  sun,  wind  and  dust;  she  can  be  an  outdoor 
girl"  and  yet  retain  the  satiny  skin  texture  which  is  her  greatest  charm 
in  other  seasons. 

This  simple,  easy,  inexpensive  treatment 
requires  little  time 

No  long  hours  spent  in  beauty  parlors  —  no  expensive  -special  appliances. 
Just  a  few  minutes  in  the  privacy  of  your  own  home — and  ALCORUB. 

Alcorub  is  a  remarkably  effective  treatment  for  the  skin.  Its  correct- 
ness is  shown  in  the  fact  that  /'/  treats  the  skin  as  a  whole  —  not  just  the 
face.  It  has  been  developed  byoneof  America' s  greatest  manufacturers. 

Used  faithfully  Alcorub  minimizes  the  bad  after-effects  of  sunburn  on  shoulders 
and  arms;  and  corrects  excessive  perspiration,  too-oily  skin,  blackheads,  sallow- 
ness  and  clogged  pores.    It  is  a  source  of  physical  vigor  as  well  as  beauty. 


How  to  use  Alcorub 

Alcorub  exerts  a  tonic  effect  upon  the 
nerves  and  blood-vessels  of  the  skin.  It 
is  applied  externally,  as  follows: 

Take  a  hot  bath  every  other  night  be- 
fore going  to  bed.  Dry  the  body  as 
usual.  Then  pour  a  little  Alcorub  in- 
to your  hand  and  rub  the  entire  surface 
of  the  body  until  you  feel  a  gentle  glow. 
After  the  Alcorub  is  all 
rubbed  in,  dash  a  second 
application  of  Alcorub 
quickly  over  the  skin 
and  let  this  evaporate  —  it 
takes  only  a  few 
seconds.  Do  not  rub 
in  this  second  appli- 
.  cation   of  Alcorub. 


Sound  sleep— full  vigor 

After  each  Alcorub  treatment  you 
will  sleep  with  a  refreshing  soundness 
that  restores  your  physical  vigor.  And 
in  a  few  weeks  you  will  find  new  beauty 
in  your  skin. 

Be  careful  to  use  Alcorub  exactly 
according  to  the  directions  here  given. 
Only  by  this  method  will  it  give  the 
benefit  you  need. 

Begin  the  treatment  tonight.  Ask  any 
druggist  or  department  store  for  Alco- 
rub. If  they  haven't  it  they  will  get 
it  for  you  if  you  insist. 

U.  S.  Industrial  Alcohol  Co. 

New  York 


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permitted  to  take  a  part.    She  attended  school 
days  and  worked  on  stage  at  nights. 

She  had  almost  forgotten  "The  New  York 
Hat"  when  a  check  for  $15  came  through  from 
Biograph  in  New  York,  along  with  a  request 
for  more  scenarios. 

Between  scenes  down  in  her  dressing  room  in 
the  San  Diego  theater  little  Miss  Loos  worked 
on  her  picture  ideas,  making  notes  for  sce- 
narios, on  scraps  of  old  lithographs,  with  the 
ardent  ruby  red  of  the  lipstick  from  her  make- 
up box. 

In  New  York  "The  New  York  Hat"  had 
come  to  the  attention  of  Griffith,  who  found  in 
it  a  part  that  interested  him.  It  seemed  to 
rather  fit  the  possibilities  of  a  young  actor  he 
had  met  a  few  days  before  at  luncheon,  Lionel 
Barrymore. 

Young  Barrymore  had  just  returned  from  a 
sojourn  in  Paris,  where  he  had  for  a  season  been 
studying  painting.    Now  he  was  ready  to  work. 

So  Barrymore  and  Mary  Pickford  appeared 
in  "The  New  York  Hat,"  Anita  Loos'  first 
scenario. 

The  fall  of  '09  found  the  independents  gath- 
ering force. 

Up  at  Mount  Vernon,  New  York,  P.  A 
Powers,  a  dealer  and  jobber  in  talking  ma- 
chines, who  had  made  his  contact  with  the 
motion  picture  as  an  Edison  invention  along 
with  the  phonograph,  opened  the  studio  of  the 
Powers  Picture  Plays,  with  Joseph  Golden  as 
his  director,  Ludwig  Erb  the  cameraman  and 
technical  expert,  and  Irving  Cummings  the 
leading  man  and  head  qf  the  casts.  The 
Powers  company  introduced  to  the  screen 
many  a  famous  name,  among  them  Mildred 
Holland  from  the  stage  fame  of  "The  Power 
Behind  the  Throne." 

This  P.  A.  Powers  was  about  to  become  a 
dominant  figure  in  the  wars  of  the  independ- 
ents which  followed.  He  was  and  continues 
today  one  of  the  most  aggressive,  belligerently 
active  men  of  the  industry.  All  this  was  pred- 
icated from  the  beginning.  Way  back  in  his 
boyhood  up  at  Buffalo,  Pat  Powers,  with  his 
husky  Irish  shoulders,  labored  over  the  anvil  in 
a  forging  shop  and  hammered  out  an  idea  for 
himself.  He  was  receiving  three  dollars  a  day. 
There  was  no  more  in  sight  no  matter  how  hard 
he  worked.  Therefore  forthwith  he  organized 
a  labor  union  to  get  his  wages  increased.  That 
was  Powers'  way.  He  could  always  see  a  way. 
The  same  spirit  and  daring  made  him  glad  to 
take  a  chance  with  the  independents  against 
the  Patents  Company  machine  that  claimed 
the  screen  for  its  exclusive  own.  When  Powers 
came  into  the  field  a  grand  fight  was  assured. 
In  the  Patents  Company  corner,  Fighting 
Jeremiah  J.  Kennedy;  for  the  independents, 
Patrick  A.  Powers — "both  members  of  this 
club." 


For  a  time  those  exchanges,  which,  led  by 
Carl  Laemmle  and  William  Swanson,  had 
refused  to  enter  the  Patents  Company  license 
agreement,  struggled  along  with  old  film  and 
such  foreign  subjects  as  they  could  acquire. 
J.  J.  Murdock,  now  known  to  the  amusement 
world  as  one  of  the  heads  of  the  United  Book- 
ing Office,  the  vaudeville  combine,  and  Hector 
J.  Streyckmans  of  the  "Show  World,"  a 
Chicago  publication  organized  the  Inter- 
national Projecting  &  Producing  Company,  for 
the  importation  of  foreign  films.  They  saw  the 
opportunity  presented  by  the  independent 
market  that  would  arise  against  the  Patents 
Company  group.  J.  J.  Murdock  went  abroad 
and  returned  with  practically  all  of  the  world's 
film  output  outside  of  America  tied  up.  This 
concern  did  a  thriving  business  at  the  outset, 
selling  about  300,000  feet  of  pictures  a  week  to 
the  exchanges  which  could  not  get  the  licensed 
subjects  of  the  Patents  group. 

But  foreign  film  did  not  well  satisfy  Ameri- 
can audiences.  It  was  the  discontent  of  the 
public  reflected  back  through  the  exchange 
men  that  gave  courage  to  the  early  independ- 
ent producers,  Actophone,  Rex,  Powers, 
Yankee,  and  others.  The  outstanding  quality 
of  Biograph's  output  under  Griffith  was  an  im- 
portant and  well  recognized  factor  in  this  dis- 
content with  foreign  pictures  and  the  demand 
for  the  best  of  the  American  pictures.  This 
subjected  Biograph  to  constant  raids  by  the 
independents  as  they  entered  the  producing 
business.  Griffith  was  often  approached,  but 
he  was  not  ready  to  leave  Biograph  yet.     1 

Carl  Laemmle  with  his  big  system  of  inde- 
pendent exchanges  was  among  those  to  feel  the 
pressure  of  the  demand  and  by  mid-summer  of 
'09  he  was  thinking  of  producing.  In  the  fall 
Tom  Cochrane,  one  of  the  Cochrane  brothers 
of  the  advertising  agency,  which  had  served 
Laemmle  with  syndicate  advertising  when  he 
was  selling  clothing  back  in  Oshkosh,  came  to 
New  York  to  establish  the  Laemmle  producing 
concern,  to  be  known  as  The  Independent 
Motion  Picture  Company,  soon  abbreviated  to 
the  famous  "Imp."  Studio  space  was  rented 
at  Dintenfass'  Actophone  studio  and  produc- 
tion started  with  William  V.  Ranous,  employed 
away  from  Vitagraph,  as  director.  The  first 
subject  was  "Hiawatha,"  a  one  reel  version, 
with  Ranous  playing  opposite  Gladys  Hulette. 

Success  encouraged  Laemmle's  efforts  and 
soon  he  had  his  eye  on  the  better  players  of  the 
Patents  Company  studios.  A  big  raid  on  Bio- 
graph was  forming  in  his  mind. 

And  the  Patents  Company  had  its  eye  on 
Laemmle.  Here  was  an  upstart  to  be  wiped 
out  under  the  steam  roller  of  the  law. 

The  big  fight  was  coming — and  with  it  the 
birth  of  the  star  system — the  subject  of  the 
next  chapter. 


TO  BE  CONTINUED  ] 


Questions  and  Answers 

[  CONTINUED  FROM  PAGE  97  ] 


Bebe,  (not  Daniels),  New  York,  N.  Y. — 
Glad  that  Novarro's  portrayals,  in  "The 
Prisoner  of  Zenda"  and  with  the  other  picture, 
"Trifling  Women,"  were  so  agreeable  to  you. 
He  is  a  native  of  Mexico.  Novarro  is  the  name 
he  has  adopted  for  professional  purposes.  It 
is  simpler,  more  easily  pronounced  and  remem- 
bered, than  his  own  name  which  is  Saman- 
iegos. 

D.  R.  B.,  New  York  City,  N.  Y. — I  am 
sure  Harold  Lloyd  will  be  gratified  to  know 
how  much  you  admire  him.  Doubtless  his 
bride,[too,  will  approve  your  taste. 

Carolyn,  Portland,  Oregon. — You  ad- 
dress me  as  The  Masked  Marvel  and  say  you 
are  "Deeply  offended"  with  me.  Carolyn, 
know  you  not  that  it  is  woman's  province  to 
forgive?  Her  mission  in  a  world  largely 
peopled  with  faulty  men?  At  all  events  if  you 
had  served  an  apprenticeship  in  a  publication 


office  you  would  know  that  it  requires,  as  a 
rule,  three  months  or  more  to  "get"  a  writer's 
thoughts  upon  a  printed  page.  Often  he  does 
not  "get"  them  there  but  into  the  waste 
basket.  It  is  not  uncommon  experience  for 
a  writer  to  see  in  the  July  issue  of  a  periodical 
something  he  wrote  in  July  the  previous  year. 
Besides,  letters  are  like  husbands,  some  of  them 
have  the  wandering  habit.  With  hand  on  my 
heart  I  swear  that  to  the  best  of  my  knowledge 
and  belief  this  is  the  first  time  I  have  had  the 
pleasure  of  a  letter  from  you.  I  am  glad  to 
make  amends  for  the  defects  of  the  mail  service 
by  giving  you  Virginia  Valli's  and  Pauline 
Garon's  addresses.  Miss  Valli's  is  Universal 
City,  California.  Miss  Garon's  is  Paramount, 
152  Vine  St.,  Hollywood,  California.  Lillian 
Gish  is  in  Italy  at  the  time  I  am  writing  this. 
•She  has  been  working  on  pictures  there  for 
most  of  the  winter  months.  Her  permanent 
address  is  care  of  Inspiration,  565  Fifth  Ave., 
New  York  City. 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


"  The  Sheik,"  Sydney,  Australia. — Hands 
across  the  seas,  my  far  away  correspondent. 
If  your  friends  "think  you  have  Rodolph 
features"  you  are  fortunate.  They  are  pleas- 
ing features.  Ask  any  movie  maid.  It  is  an 
interesting  angle  upon  the  taste  in  amusements 
that  Australians  rank  Rodolph  Valentino 
pictures  as  their  favorites  and  that  this 
expresses  the  tastes  of  both  men  and  women 
in  Australian  audiences.  Mary  Pickford, 
Norma  Talmadge  and  i  Charlie  Chaplin  are 
also  very  popular.  Evidently  the  taste  of 
Australians  and  Americans  in  amusement  are 
akin.  I  am  glad  you  think  that  was  a  striking 
picture  of  Mr.  Valentino  on  the  cover  of  the 
magazine.  Your  possession  of  fifty  photo- 
graphs of  Mr.  Valentino  proves  that  he  is  not 
merely  a  woman's  favorite.  You  saw  "The 
Sheik"  seventeen  times!  You  are  a  good 
patron  of  the  cinema.  I  think  your  table  of 
favorites  a  discriminating  one.  I  publish  it  so 
that  other  readers  may  compare  jour  rating 
with  theirs. 

Juvenile  parts Mary  Pickford 

Heroes Rodolph  Valentino 

Villains Bertram  Grassly 

Dramatic .  : Norma  Talmadge 

Comedy  (men) Charles  Chaplin 

Comedy  (women) Constance  Talmadge 

Character Theodore  Roberts 

Vampires Theda  Bar'a 

Yes,  "Sheik,"  I  agree  with  you  that  Justina 
Johnson  is  "wonderfully  alluring."  Whisper  a 
secret.  Walter  Wanger  thinks  so  too.  He  is 
her  husband.  She  is  in  London.  Her  husband 
is  directing  a  cinema  house  in  that  city. 
Justine,  beset  by  the  common  fear  of  smart 
women  today  of  being  too  plump,  has  recently 
taken  drastic  measures  to  lose  flesh.  She  has 
succeeded,  I  am  told,  to  the  extent  of  twenty 
pounds.  Other  pictures  in  which  Rodolph 
Valentino  has  appeared  beside  "Beyond  the 
Rocks,"  "Blood  and  Sand"  and  "The  Young 
Rajah"  are  "The  Big  Little  Person,"  "The 
Delicious  Little  Devil,"  "Society  Sensation," 
"  All  Night,"  "  Out  of  Luck,"  " Eyes  of  Youth," 
"Ambition,"  "Passion's  Playground,"  "Un- 
charted Seas,"  "The  Wonderful  Chance" 
and  "The  Conquering  Power." 

Ruth  Moore,  Sioux  City,  Iowa. — I  am 
glad  you  enjoy  reading  The  Photoplay  Maga- 
zine. "We  strive  to  please."  You  say  Bebe 
Daniels  and  Alice  Terry  "are  two  of  our  most 
accomplished  actresses,  with  talent  and 
beauty."  I  underscore  your  opinion,  Ruth. 
[continued  on  page  105] 

Why  Did  the  Vidors 
Separate  ? 

[  continued  from  page  30  ] 
devotion  to  Florence  always  kept  him  from 
sowing. 

I  only  know  this.  The  tangible  something 
that  holds  marriages  together  through  poverty 
and  pain  and  sorrow  is  that  intangible  some- 
thing called  love.  Oh,  not  the  sugar-coated 
emotion  of  a  jasmine  garden.  Nor  the  sky- 
rocket flame  of  a  midsummer  madness. 

And  the  tangible  something  without  which 
you  can't  hold  marriage  together  in  the  midst 
of  success  and  fame  and  riches  is  that  inexplic- 
able something  called  love. 

If  it  exists  between  King  and  Florence  Vidor, 
no  amount  of  temporary  misunderstanding,  no 
working  out  of  any  problem  of  disposition  or 
change  or  even  evil,  can  separate  them. 

And  if  it  doesn't,  no  amount  of  compati- 
bility, or  friendship,  or  mutual  achievement 
can  keep  them  together.  Not,  at  least,  in  a 
case  where  the  wife  is  financially  independent. 

Oh,  the  Vidor  separation  is  a  strange 
problem,  and  a  very  modern  problem.  But  I 
believe,  when  you  analyze  it  all,  it  comes  back 
that  very  oldest  of  all  solutions — love. 

If  you  think  it  over,  and  await  the  results, 
you'll  find  I'm  right. 


For  Style  in  Hair  Dress 

— Stars  of  the  Screen  Use  Stacomb 


TO  keep  unruly  hair  always  in 
place,  just  as  it's  combed  and  to 
have  that  soft,  pliable,  lustrous  effect 
— stars  of  stage  and  screen  have  used 
STACOMB  for  years. 

STACOMB  controls  all  kinds  of 
unruly  hair — soft,  fluffy  hair — dry, 
brittle  hair — stiff,  wiry  hair — short, 
stubborn  hair — all  can  be  made  to 
stay  exactly  as  combed  with  a  soft, 
lustrous  sheen. 

You  will  be  amazed  at  the  ease 
with  which  you  can  comb  your  hair 
after  using  STACOMB.     For  after 

Demand 


washing  the  hair  STACOMB  is  in 
dispensable. 

Women  find  it  useful  in  keeping  curl  in 
and  to  keep  vexing  short  locks  and  flying 
strands  in  place. 

Young  boys'  hair  kept  always  neat  with 
STACOMB  —  easily  trained,  any  style, 
too.      {Not  a  liquid.) 

Comes  in  jars  and  tubes.  For  sale  at 
all  druggists  or  wherever  toilet  goods  are 
sold. 


STACOMB  comes  in 
tubes  now,  as  well  as 
jars.  This  handy  tube 
sells  for  35c  and  is  an 
exceedingly  convenient 
package. 


The  Original 

— has  never  been  equalled. 

STANDARD  LABORATORIES,  Inc. 
Los  Angeles,  California 


makes  Hair  stay  combed 


When  you  writs  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


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Cleans  a  Toilet  as 
Nothing  Else  Will 

Thoroughly,  swiftly,  easily — Sani- 
Flush  cleans  toilet  bowls.  All  stains, 
discolorations,  incrustations  disappear. 
The  bowl  shines. 

No  scrubbing.  No  scouring.  Just 
sprinkle  Sani-Flush  into  the  bowl. 
Follow  directions  on  the  can.    Flush  I 

The  hidden  trap  is  unhealthful  if 
unclean.  Sani-Flush  reaches  it  — 
cleans  it — purifies  it.  Nothing  else 
will  do  this!  Sani-Flush  destroys  all 
foul  odors.  It  will  not  harm  plumbing 
connections. 

Always  keep  Sani-Flush  handy  in 
the  bathroom. 

Sani-Flush  is  sold  at  grocery,  drug, 
hardware,  plumbing  and  house-furnish- 
ing stores.  If  you  cannot  get  it  at  your 
regular  store,  send  25c  in  coin  or  stamps 
for  a  full-sized  can,  postpaid.  (Canadian 
price,  35c ;    foreign  price,  50c.) 

THE  HYGIENIC  PRODUCTS  CO. 
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Klein  smashes  prices  on  great  mil- 
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FREE  CATALOG— WRITE  TODAY 

It  bills  the  whole  story— beautifully  illustrates  sensational  bargains 
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Kl    DM    X.    tf*  O        *22    West    Madison    Street 
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ystemize 

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England  as  well  as  America  acknowledges  Norma  as  queen.     When  she  visited 
London  the  reception  at  Victoria  station  was  equal  to  any  accorded  royalty 


The  Lady  of  the  Vase 

[  CONTINUED  FROM  PAGE  30  ] 


matter  whether  the  subject  is  psychic  phenom- 
ena or  poached  eggs.  But  she  can  be  gor- 
geously, aristocratically  rude  when  you  try  to 
make  her  the  subject  of  conversation.  It  isn't 
because  she's  unwilling  for  you  to  know  about 
her,  it's  just  that  it  bores  her  horribly. 

It's  one  of  the  most  bewhiskered  of  adages 
that  a  man  is  known  by  his  friends. 

Norma's  are  particularly  interesting  as  a 
criterion  of  her  character. 

The  much  loved  wife  of  a  producer  —  a 
woman  with  three  children  and  a  deep  and 
beautiful  outlook  on  life — a  woman  of  tre- 
mendous efficiency.  A  brilliant  woman  critic, 
whose  house  on  a  hilltop  is  a  gathering  place  of 
intellectuals.  A  famous  scenario  writer,  almost 
as  well  known  for  her  wit  and  frankness  as  for 
her  ability.  The  widow  of  a  famous  screen 
star,  who  stands  in  Hollywood  for  everything 
that  is  fine  and  worth  while  in  womanhood.  A 
girl  who  has  had  a  rotten  bad  break  from  life, 
but  who  manages  to  smile  anyway. 

There  is  one  characteristic  that  is  common  to 
every  woman  with  whom  I  have  ever  seen 
Norma  friendly — a  characteristic,  too,  that 
isn't  common  to  the  feminine  sex — a  sense  of 
humor. 

Her  home  is  extremely  beautiful  and  it 
expresses  more  of-  her  personality  than  the 
homes  of  most  stars.  One  thing,  too,  I  re- 
marked about  it.  Most  women  screen  stars 
fill  their  homes.  If  there  happens  to  be  a 
husband,  he  does  the  best  he  can.  It  is  her 
boudoir,  her  dressing  room,  her  sleeping  porch, 
Iter  breakfast  nook,  her  this  and  her  that.  In 
Norma's  home,  everything  seems  to  be 
arranged  chiefly  for  her  husband  and  his  com- 
fort. 

And  it  is  plain  that  this  is  her  desire. 

Norma's  marriage  to  Joe  Schenck  is  one  of 
the  happiest  in  the  film  industry. 

In  fact,  Norma  seems  to  have  been  born 
under  a  lucky  star. 

I  don't  suppose  there  is  a  woman  in  the 
world  today  upon  whom  gifts  have  been  so 
profusely  showered.  Her  gowns,  her  jewels, 
her  furs,  her  art  treasures,  her  cars — literally, 
she  has  everything.  She  doesn't  know  what  it 
is  to  desire  anything.  She  has  never  had  a 
business  worry  in  her  career.  Her  husband  is 
one  of  the  richest  and  shrewdest  producers  in 
the  game,  and  every  smallest  detail  of  worry  or 

Every  advertisement  in  PHOTOrLAY  MAGAZINE  is  guaranteed. 


strife  about  her  pictures  is  taken  off  her 
shoulders. 

I  think  that  she  has  come  to  have  a  great 
indifference  for  all  the  things  that  money  buys. 
She  is  surfeited  with  material  luxury.  I  can 
imagine  her  mislaying  a  fifty  thousand  dollar 
string   of   pearls. 

Her  indifference  —  almost  insolence  —  con- 
cerning the  loveliness  that  surrounds  her  is 
only  the  stuffed  appetite  of  a  child  who  has  had 
too  many  sweets.  And  she  lias  not  allowed  it  to 
dominate  her — she  has  shrugged  it  aside, 
in  tead  of  allowing  it  to  bury  her  and  stifle  her 
development.  It  seems  to  have  created  a 
great  desire  for  intellectual  things,  for  human 
things,  things  that  money  cannot  buy. 

And  she  loves  to  remember  the  days  when 
she  ran  all  the  way  home  from  the  Vitagraph 
studio,  weeping  with  joy,  and  dragging  behind 
her  a  sixteen-pound  Christmas  turkey  that  had 
been  presented  to  her  at  the  studio.  She  likes 
to  tell  you  about  the  days  when  she  started  in 
pictures — at  thirteen — and  earned  $35  a  week 
and  could  help  her  mother  bear  the  burden  of 
supporting  the  family  of  three  small  daughters. 
And  her  eyes  grow  dreamy  when  she  recalls  a 
certain  flat  in  New  York  that  they  wanted 
very  much,  but  it  was  $65  a  month,  and  she 
and  Connie  only  earned  $60  between  them,  and 
their  mother  had  told  them  they  must  never 
pay  more  a  month  for  rent  than  they  earned  in 
a  week.  Her  climb  up  the  ladder — to  Griffith 
— then  to  stardom  with  Selznick — then  to  her 
own  company  with  her  husband  backing  her — 
she  gets  a  great  thrill  out  of  remembering  it  all. 

She  has  one  point  in  common  with  Mary 
Pickford. 

Her  worship  of  her  mother.  Her  eyes  fill 
with  tears  of  love  and  gratitude  when  she 
speaks  of  her.  "When  I  think,"  she  said  to  me 
the  other  day,  "of  all  my  mother  did  for  us! 
How  she  managed  to  keep  things  nice  and  cook 
good  dinners  out  of  nothing  on  a  one-burner 
gas  stove— and  never  let  us  know  we  were  poor. 
She's  the  most  wonderful  woman  in  the  world." 

She  has,  too,  a  strong  sense  of  family  devo- 
tion— to  her  sister  Connie,  and  Natalie 
Talmadge  Keaton — and  young  Joseph  Tal- 
madge  Keaton. 

Altogether,  Norma  Talmadge  is  an  ex- 
tremely real,  extremely  human  and  unspoiled 
girl,  and  I  like  her  and  so  would  you. 


Photoplay  Magazine — Advertising  Section 
Questions  and  Answers 


[  CONTINUED  FROM  .PAGE  1 03  ] 

Marguerite  or  Gloversville,  N.  Y. — 
Allow  me  to  commend  your  business-like 
directness.  When  you  are  married,  dear 
Marguerite,  there  will  be  no  circumlocution  in 
your  speech.  You  will  greet  your  husband 
with  "Where  you  been?"  Probably  accom- 
panying your  question  with  the  rapid  descent 
of  a  well  aimed  rolling  pin.  That's  the  way 
to  manage  a  man.  You  believe  in  the  dis- 
cipline of  a  man,  don't  you?  So  do  I.  These 
are  the  addresses  you  request:  Viola  Dana, 
Metro,  Norma  Talmadge,  United  Studio's,  Los 
Angeles;  Bebe  Daniels,  Famous  Players-Lasky 
Studio,  Hollywood;  Gladys  Walton,  Universal, 
Universal  City;  Richard  Barthelmess,  Inspira- 
tion Pictures,  565  Fifth  Ave.,  New  York. 

Corinne,  San  Francisco. — Calm  your 
fears,  anxious  one.  Thomas  Meighan  does  not 
contemplate  an  early  retirement  from  the 
screen.  The  tall,  heroic  actor  of  your  admira- 
tion has  attained  the  age  of  forty-four  years. 
But  what  matters  it  since  he  looks  and  feels 
as  though  thirty-six?  You  know  the  French 
adage.  If  he  feels  as  though  he  were  thirty- 
six  he  is  thirty-six.  Marion  Morgan,  one  time 
the  teacher  of  physical  culture  in  the  Los 
Angeles  High  School,  is  pardonably  proud  of 
her  discovery,  Ramon  Novarro.  It  was  she 
who  first  engaged  him  for  the  view  of  the 
public.  With  a  chaplet  resting  on  his  brow, 
and  arrayed  in  the  diaphanous  tunic  of  the 
Greeks,  he  danced  with  Mrs.  Morgan's  Pligh 
School  girls  in  Keith  vaudeville  tours.  For 
three  years  he  was  the  male  dancer  in  that 
pulchritudinous  aggregation.  Buango,  Mexi- 
co, is  the  city  of  his  birth.  The  year  was  1899. 
His  dimensions?  Certainly.  Five  feet,  ten 
inches.  Black  hair  and  black  eyes.  Unmar- 
ried and,  again,  "to  the  best  of  my  knowledge 
and  belief " without  a  mortgage  on  his  heart. 

New  Orleans  Girl. — Ramon  Novarro  is 
not  loath  to  give  his  photographs  by  the  usual 
method.     Write  him  care  Metro  Studios. 

Dotty,  Paducah,  Ky. — There  seems  no 
doubt  that  Margaret  Irving  was  born  in  the 
town  of  your  abode.  She  has  told  me  that  she 
withholds  her  family  name  because  the  rela- 
tives protested  against  her  appearing  in  public, 
either  on  the  screen  or  stage.  She  received  her 
education  in  Philadelphia  and  New  York. 
Her  first  appearance  was  in  a  musical  comedy 
with  Fred  Stone.  She  was  in  "The  Follies" 
and  for  two  seasons  with  the  Music  Box 
Revue.  While  playing  in  The  Music  Box 
Revue  she  married,  last  winter,  her  dancing 
partner,  William  Seabury. 

C.  W.  D.,  Washington,  D.  C— Use  only 
your  initials?  Certainly.  We  understand 
each  other,  old  man.  Pauline  Garon  is  twenty- 
three  years  old.  She  has  been  in  motion 
picture  work  for  three  years.  Her  address  is 
Arthur  Jacobs  Productions,  United  Studios, 
Los  Angeles.  Mary  Miles  Minter's  age  is 
twenty-one.  She  has  been  on  the  screen  for 
five  years.  Her  address  is  701  New  Hampshire 
Boulevard,  Los  Angeles,  Cal. 

N.  E.,  Pierce,  Florida. — Ah!  Another 
favored  darling  of  fortune.  At  least  so  saith 
the  ancient  superstition.  Your  initials  spell  a 
word,  therefore  the  gods  and  goddesses,  ac- 
cording to  the  legend,  will  bend  a  kindly  gaze 
upon  you.  Since  the  initials  are  of  such  a 
camouflaging  nature  you  and  I  will  keep  the 
secret  of  whether  their  owner  is  really  "He" 
or  "She."  Nobody's  affair  save  ours,  is  it? 
The  Answer  Man  answers  questions,  but,  too, 
he  keeps  secrets.  Yea,  verily,  I  believe  that 
a  photograph  of  Theodore  Kosloff  will  be 
forthcoming  from  the  Famous  Players-Lasky 
Studios,  Hollywood.  Particularly  if  you 
write  him  all  you  told  me  of  your  admiration 
for  him.  No  man  so  manly  but  his  resolution 
weakens  before  superlatives. 

[  continued  on  page  116  ] 


Posed  by  Virginia  Lee  in 
" If  Women  Only  Knew," 
an  R-C  Pictures  Corpo- 
ration motion  picture. 
Miss  Lee  is  one  of  many 
attractive  women  of  the 
screen  who  use  and  en- 
dorse Ingram's  Milkweed 
Cream  for  promoting 
beauty    of    complexion. 


Does  the  burning  sun  of  summer 

redden  and  coarsen  your  skin? 


Swimming  —  motoring  —  goif  or 
tennis,  under  a  scorching  sun.  What 
happens  to  your  complexion?  Is  it 
marred  by  redness  and  roughness?  Do 
sunburn,  tan  or  freckles  rob  your  com- 
plexion of  charm?  There  is  no  need  of  it. 

You  can  protect  your  skin  from  the 
burning  rays  of  the  summer  sun.  You 
can  guard  it  against  sunburn,  tan  and 
freckles  if  you  adopt  the  regular  use  of 
Ingram's  Milkweed  Cream. 

Ingram's  Milkweed  Cream,  you  will 
find,  is  more  than  a  face  cream.  Not 
only  does  it  protect  the  skin — it  keeps 
the  complexion  fresh  and  clear,  for 
Ingram's  Milkweed  Cream  has  an  ex- 
clusive therapeutic  property  that  actu- 
ally "tones-up, "revjYa/y^es  the  sluggish 
tissues  of  the  skin. 

If  you  have  not  yet  tried  Ingram's 
Milkweed  Cream,  begin  its  use  at  once. 
It  will  soon  soothe  away  old  traces  of 

^^  redness  and  rough- 

rkcre  is  J^Pt  in  Lslery     ness>   banish   slight 
jSr       ^ar        imperfections.      Its 
continued   use   will 


Beauty 


preserve  your  fair  complexion  through 
a  long  summer  of  out-door  activities. 
Go  to  your  druggist  today  and  pur- 
chase a  jar  of  Ingram's  Milkweed  Cream 
in  the  50c  package  or  the  standard  $1.00 
size.  (The  dollar  jar  contains  three 
times  the  quantity.)  Use  it  faithfully, 
according  to  directions  in  the  Health 
Hint  booklet  enclosed  in  the  carton — 
keep  the  charm  of  a  fresh,  fair  com- 
plexion through  the  hot  vacation  days. 
Ingram's  Rouge  —  "Just  to  show  the 
proper  glow"  use  a  touch  of  Ingram's  Rouge 
on  the  cheeks.  A  safe  preparation  for  deli- 
cately emphasizing  the  natural  color.  Offered 
in  thin  artistic  metal  vanity-box,  with  large 
mirror  and  pad — does  not  bulge  the  purse. 
Five  perfect  shades,  subtly  perfumed — Light, 
Rose,  Medium,  Dark  or  the  newest  popular 
tint,  American  Blush — 50c. 

FREDERICK  F.   INGRAM   CO. 

Established  1885 

102  TENTH  ST.  DETROIT,  MICH. 

Canadian  residents  address  F.  F.  Ingram  Company, 
Windsor,  Ontario.  British  residents  address,  Rang- 
ers, 42A  Hampstead  Rd.,  London,  N.  W.  1.  Aus- 
tralian residents  address  Law,  Binns  &  Co.,  Com- 
merce House,  Melbourne.  New  Zealand  residents 
address  Hart,  Pennington,  Ltd.,  33  Ghuznee  St., 
Wellington.  Cuban  residents  address  Esplno  & 
Co.,  Zulueta  36H.  Havana. 


Inattim's 

^         Milkweed 


Cfeani 


Send  ten  cents  for  Ingram's  Beauty  Purse — An  attractive  souvenir 
packet  of  the  exquisite  Ingram  Toilet- Aids.  Mail  the  coupon  below  with 
stamps  or  coin  and  receive  this  dainty  Beauty  Purse  for  your  hand  bag. 


FREDERICK  F.  INGRAM  CO.,  102  Tenth  Street,  DETROIT,  MICH. 

GENTLEMEN:  Enclosed  please  find  ten  cents.  Kindly  send  me  Ingram's 
Beauty  Purse  containing  an  eiderdown  powder  pad,  samples  of  Ingram's 
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gentleman  of  the  house,  a  sample  of  Ingram's  Therapeutic  Shaving  Cream. 

Name. 

Street  I 

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When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZIN'l 


io6 


Photoplay  Magazine — Advertising  Section 


winkles 
Shatter  iJ reams 

Wrinkles  have  a  habit  of  stamping  them- 
selves upon  feminine  faces. 

There  are  "laughing  wrinkles"  that  crinkle  the 
skin  around  the  eyes  and  corners  of  the  mouth — ■ 
"student  wrinkles" — coming  from  the  scowl  that 
means  deep  thought  and  "sunshine  wrinkles" — 
those    perpendicular  ones   between  the  brows — 

All  stamp  age  across  your  face — 

for  all  to  see. 

Ego    Wrinkle    Remover 

Removes  wrinkles  by  removing 
the  cause.  It  feeds  and  strength- 
ens the  underlying  tissues  and 
makes  new  wrinkles  impossible 
to  form.  It  softens  the  skin, 
feeds  the  starved  cells  and  then 
holds  the  skin  in  its  new  wrinkle 
free  position  until  the  wrinkles 
are  gone  forever.  Get  it  at  once 
■ — say  good-bye  to  age — you  have 
a  right  to  preserve  youth.  Send 
the  coupon.     Ego  is  guaranteed. 

Grace  M.  Anderson 

V.  VIVAUDOU,  Inc. 

Dept.  108,  469.  Fifth  Ave.,  N.  Y. 


Send  for  the 
Ego  Beauty 
Chart-FREE 

Write  Miss  An- 
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will  help  you  OH 
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Do  you  know 
whether  you  have 
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£5 

cme  Gxclusioe 
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Wrinkle  Remover  .  . 
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Perspiration  Regulator 
Dandruff  Remover  and 

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Nail  Polish $  .35 

Sunburn 

Preventive  ..   3.00 
Ankle 

Cream 5.00 

Freckle 

Cream 7.50 

Skin  and 

Pore  Cleanser  5.00 
Hair  Curling 

Cream 3.00 

Depilatory.  .  .  .   5.00 


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Remover  does  to 
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nently what  the 
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kerchief. 


€ 


9-"    V  I  V  A  U  D  OU>** 


Grace  M.  Anderson,  V.  VIVAUDOU,  Inc. 
Dept.  108         469  Fifth  Avenue,  New  York 

[ENCLOSED  find  $5.00 — for  which  please  send  me  tube  of 
Eeo  Wrinkle  Remover.  I  am  privileged  to  return  the  Ego 
Wrinkle  Remover  and  have  money  refunded  should  I  not  be 
etiiirely  satisfied.  (Use  separate  sheet  if  ordering  other 
products.) 


What  Are  the  Chances  of  a  Beginner 


CON'TINTED  FROM  PAGE  37 


earn  a  comfortable  living  in  motion  picture 
work  while  building  for  a  successful  future. 

"With  the  spark  and  zeal  to  make  good,  and 
luck,  any  beginner  might  make  a  success  in 
motion  pictures.  There  is  no  set  formula.  A 
different  set  of  rules  applies  in  each  new  case. 
The  one  thing  to  be  sure  of  is  enough  money  to 
live  on  while  battling  for  your  chance." 

MARSHALL  NEILAN— Director 

"Despite  the  fact  that  production  has 
reached  its  highest  point  in  years,  I  would  not 
encourage  outsiders  to  attempt  entering  the 
held  at  this  time. 

"There  is  a  shortage  of  players  now  but  this 
shortage  applies  only  to  people  established  as 
actors  or  actresses.  There  still  remains  a  vast 
army  of  beginners  available  to  producers  in  and 
around  Los  Angeles,  and  while  this  supply  of 
unestablished  talent  is  being  drawn  upon  to  a 
greater  extent  than  has  been  evident  in  years, 
there  still  remains  a  greater  supply  of  acting 
material  in  Hollywood  than  the  demand  calls 
for." 

HOBART  HENLEY— Director 

"Opportunities  in  the  films  today  for  begin- 
ners, particularly  girls,  are  better  than  ever 
before  in  the  history  of  the  screen — but  for 
fewer  and  different  girls.  The  directors  of 
today  are  being  forced  to  look  for  intrinsic  art. 
A  girl  with  nothing  but  beauty  to  recommend 
her  wins  hardly  a  passing  glance.  The  girl  with 
brains  and  dramatic  imagination  succeeds. 
Beauty,  of  course,  is  her  powerful  ally. 

"The  director  still  has  the  opportunity  to 
find  undiscovered  genius.  Take  Mary  Philbin 
— an  unknown  youngster  not  long  ago.  Today 
one  of  our  discoveries.  She  did  not  know  the 
extent  of  her  own  ability.  Modern  directors 
did." 

L.  M.  GOODSTADT— 
Paramount  Casting  Director 

"I  believe  that  there  never  was  a  more 
opportune  time  for  the  right  type  of  girl  to  get 
into  motion  pictures  and  rise  to  stardom. 

"The  motion  picture  industry  has  made 
rapid  strides  in  the  past  year,  but  the  supply  of 
talent  has  not  kept  pace  with  this  development. 
The  shortage  of  really  gifted  players  accounts 
for  the  high  salaries  of  today. 

"  But  because  there  is  a  shortage,  that  does 
not  mean  that  any  girl  who  happens  along  will 
get  a  job.  On  the  other  hand  it  means  that 
only  one  in  a  thousand  has  the  stuff  from  which 
stars  are  made.    That's  why  there  is  a  shortage. 

"Five  years  ago,  the  public  were  less  dis- 
riminating.  Today  motion  picture  players 
nust  have  both  good  looks  and  charm,  to  be 
successful.  Without  both  qualifications,  they 
haven't  a  ghost  of  a  show.  I  turn  away 
hundreds  of  girls  who  come  to  see  me  every 
week.  They  are  beautiful,  but  they  don't 
possess  screen  personality,  the  all  important 
thing  in  motion  pictures." 

HARRY  KERR— Metro  Casting  Director 

"The  quantity  of  production  in  motion 
pictures  today  is  unprecedented. 

"And  I  believe  that  the  opportunity  for 
everyone,  especially  the  extra  girl  or  beginner, 
is  greater  than  it  has  ever  been  for  this  reason. 

"We  must  have  new  people.  There  aren't 
enough  old  ones  to  go  around.  The  extra  girl 
today,  who  is  constantly  before  all  the  direc- 
tors, if  she  has  personality  and  perseverance 
and  will  work  and  study,  is  sure  to  get  her 
chance.  But  she  will  need  more  to  make  good 
than  ever  before." 

CLARENCE  JAY  ELMER— Casting 
Director  of  Cosmopolitan  Productions 

"I  have  a  soft  spot  in  my  heart  for  beginners. 
Perhaps  it's  because  I've  been  there  myself.  I 
started  acting  when  I  was  a  child,  and  had  to 
play  Little  Lord  Fanntleroy  and  Little  Eva.  I've 
been  an  actor  out  of  a  job,  too — when  T  came 


back  from  France,  after  the  armistice.  And  so 
I  understand!  Anyway,  a  beginner  has  a 
pretty  fair  chance,  with  us.  We're  always  will- 
ing to  give  a  newcomer,  who  has  looks  and  per- 
sonality, work  as  an  extra.  And,  if  that  extra 
shows  any  promise,  we're  always  glad  to  move 
her  up  to  a  small  part.  Every  month  I  select 
the  fifty  most  promising  applicants  for  work — 
and  from  that  fifty  Mr.  Hearst  usually  selects 
twelve.  I'd  call  that  a  good  average!  Miss 
Davies,  is  always  watching  the  extras,  too — she 
was  one  herself,  you  know.  Of  course  it's 
usually  safer  to  use  some  one  who  has  had  stage 
experience;  but  who  wants  to  play  safe,  all  the 
time?" 

ROBERT  B.  McINTYRE— Goldwyn 
Casting  Director 

"It  is  just  as  hard  as  ever  for  a  girl  to  get 
into  pictures.  In  fact,  it's  a  little  harder.  I 
make  that  my  opening  statement,  because  I 
know  from  long  experience  that  any  optimistic 
statement  from  a  casting  office  may  be  made 
the  excuse  for  the  invasion  of  Los  Angeles  by  a 
horde  of  inexperienced  girls,  who  will  insist 
that  I  owe  them  a  job.  And  I  shall  have  their 
difficulties  on  my  conscience. 

"However,  I  must  admit  that  it  is  easier 
today  than  ever  for  the  girl  or  boy  who  has 
already  gotten  a  little  start  in  pictures  to  win 
high  place  and  recognition.  I  believe  the 
opportunities  for  success  in  pictures  for  those 
with  the  proper  qualifications  are  bigger  than 
ever.  But  they  certainly  demand  more  for 
their  fulfilment  than  of  yore. 

"We  are  always  on  the  lookout  for  promising 
young  people  to  add  to  the  Goldwyn  stock 
company.  That  is — to  put  them  where  we  can 
develop  them  through  hard  work. 

"If  you  have  talent,  nothing  can  keep  you 
from  success  on  the  screen  today,  for  producers 
need  you.  But  talent,  screen  talent,  includes 
screen  personality,  beauty,  ability,  strength  for 
very  hard  work,  patience  and,  most  of  all, 
latent  dramatic  ability  tc  be  developed." 

WILLIAM  COHILL— Eastern 
Paramount  Casting  Director 

"The  novice  has  but  a  thousand  to  one 
chance  to  make  a  success  in  motion  pictures. 
If  the  beginner — one  who  comes  into  the 
picture  game  from  outside  the  theatrical  profes- 
sion with  no  technical  training  whatever — 
makes  good,  it  is  only  after  traveling  a  long, 
hard  road  of  work  as  an  extra.  Of  the  thou- 
sands of  extra  people  working  today  in  pictures 
only  a  few  ever  attain  stardom  and  I  assume 
that  no  man  or  woman  would  consider  his 
success  complete  unless  he  reached  stellar 
parts  before  the  camera. 

"When  a  promising  person  comes  to  our 
attention — usually  some  one  from  the  theater 
— a  test  must  be  made  to  show  how  the  person 
will  photograph.  These  tests  take  time  and 
cost  money  and  they  are  given  only  in  rare 
cases,  so  it  would  be  impossible  for  the  novice, 
no  matter  how  beautiful  she  looked  to  her 
friends,  to  hope  to  have  a  test  made  until  she 
proved  her  ability  with  extra  work  at  least. 

"My  advice  to  young  girls,  and  men,  too, 
who  want  to  get  into  motion  pictures  would 
be:  Don't  try." 

JAMES    RYAN— Eastern    Fox    Casting 
Director 

"There  isn't  a  great  deal  of  chance  for  a 
beginner  in  this  business.  Not  that  many 
beginners — if  given  the  opportunity — wouldn't 
make  good.  For,  every  day,  T  see  new  faces — 
with  possibility  stamped  all  over  them!  But 
the  overhead  of  a  picture,  the  cost  of  produc- 
tion, is  so  great  that  few  directors  care  to  risk 
the  loss  that  using  a  beginner — with  no  experi- 
ence at  all — might  mean.  You  could  carry  a 
beginner  along  for  a  month,  working  hard  with 
her,  and  then  in  the  midst  of  a  big  emotional 
scene  she  might  fall  down.  Go  all  to  pieces. 
I've  seen  it  happen!    And  that,  of  course,  would 


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Photoplay  Magazine— Advertising  Section 


mean  making  over  the  whole  picture.  In  mob 
scenes — or  atmosphere?  Well,  that's  different. 
Although,  even  then,  we  prefer  someone  with 
dramatic  or  stage  experience.  And,  for  the 
reasons  I've  mentioned,  an  unknown  extra 
-eldom  rises  above  the  mob.  Unless  she 
happens  to  be  a  certain  hard-to-find  type. 
Rut,  ordinarily,  a  beginner  has — I  should  say — 
about  one  chance  in  five  thousand!" 

JOHN  M.  STAHL— Director 

"This  is  the  age  of  characterization  in 
pictures  and  consequently  the  age  of  experi- 
ence. The  beauty  star  and  the  matinee  idol 
are  on  the  wane  and  now  the  rising  individual 
favorites  on  the  screen  are  those  players  who 
possess  unusual  talent  and  who  have  the  ability 
to  mold  themselves  into  perfect  harmony  with 
the  role  they  portray.  Whether  or  not  they  are 
good  looking  is  a  secondary  matter. 
.  "  The  girl  just  starting  in  pictures  faces  over- 
whelming odds,  with  proven  ability  and  experi- 
ence holding  the  balance  against  her. 

"  How  many  girls  who  enter  pictures,  or  who 
think  of  entering  pictures,  wish  to  study  and 
learn  to  be  real  actresses  and  work  toward  the 
top?  I  venture  to  say  that  ninety-nine  out  of  a 
hundred  expect  to  get  star  roles  any  day.  That 
Alary  Pickford,  Lon  Chaney,  Norma  Talmadge, 
Lewis  Stone  and  others  of  like  caliber  worked 
years  acquiring  their  priceless  experience  never 
seems  to  occur  to  beginners. 

"This  is  a  great  time  to  learn  the  acting 
profession,  because  the  demands  of  the  public 
are  more  exacting  and  the  training  will  be  more 
thorough.  But  the  girl  who  contemplates 
going  into  pictures  to  take  a  hop,  skip  and 
jump  to  money  and  popularity  will  do  better  to 
try  some  other  line  of  endeavor.  Those  days 
are  over  in  motion  pictures." 

CHARLES  MAIGNE— Director 

"Motion  picture  production  has  touched  its 
highest  flood,  but  the  chances  of  the  beginner 
today  are  slimmer  than  ever  before.  That  is, 
if,  by  chance,  the  beginner  means  the  rapid  rise 
to  fame  and  fortune  that  have  been  the  lucky 
portion  of  some  beginners  in  the  past. 

"The  art  of  acting  on  the  screen  is  develop- 
ing rapidly.  The  taste  of  the  public  is  being 
educated  beyond  mere  physical  beauty  and 
youth.  Such  successes  as  that  scored  by 
Ernest  Torrence  in  'The  Covered  Wagon,'  by 
Myrtle  Stedman  in  'The  Famous  Mrs.  Fair,' 
prove  that  people  want  acting. 

"And  acting  is  a  great  art  learned  by  con- 
centration, hard  work  and  sacrifice. 

"  But  for  the  beginner  who  wants  to  start  at 
the  foot  of  the  ladder,  who  is  willing  to  take 
extra  work  and  stick  to  it,  and  study,  and  figure 
on  several  years  of  labor  before  even  the  first 
fruits  begin  to  fall  into  his  or  her  lap — for  that 
beginner,  the  game  was  never  so  wide  open 
before  in  its  history.  We  need  new  faces  and 
fresh  talent,  but  we  need  them  to  develop,  to 
train  and  to  make  ready  for  future  use,  not  to 
fling  into  an  undeserved  and  unsatisfactory 
blaze  of  prominence  and  success." 


I07 


WE  learned  something  the  other  day,  and 
from  a  motion  picture  actress,  too.  Miss 
Vera  Gordon,  whom  everybody  remembers  as 
the  mother  in  "Humoresque,"  is  now  playing 
her  original  role  in  the  screen  version  of 
"Potash  and  Perlmutter."  We  spent  the  day 
over  at  the  studio  in  Fort  Lee,  and  during  the 
afternoon  lemonade  was  passed  around. 
Several  people  were  served,  but  we  had,  for 
some  reason  or  another,  been  overlooked.  Miss 
Gordon  sat  contemplating  her  glass. 

"Don't  you  want  some  lemonade?"  she 
asked. 

"Yes,"  we  responded  timidly,  "if  nobody 
else  wants  it." 

"You'll  have  to  get  over  that,"  said  Miss 
Gordon.  "If  anybody  else  wants  it — what  do 
you  mean?  I  was  like  that  once,  but  I  got  over 
it.  and  now  I  get  good  parts!" 

We  have  taken  Miss  Gordon's  advice,  and 
are    at    present    awaiting    results. — Morning 

Tell  -rapli. 


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Casts  of  Current  Photoplays 

Complete  for  every  picture  reviewed  in  this  issue 


"SLANDER  THE  WOMAN"— First 
National — An  Allen  Holubar  Production. 
Adapted  from  "The  White  Frontier"  by 
Jeffrey  Deprend.  The  cast:  Yvonne  Desmarcst, 
Dorothy  Phillips;  M.  Duroacher,  Lewis  Day- 
ton; Dr.  Emile  Mollcur,  Robert  Anderson; 
Nanette,  Mayme  Kelso;  Scarborough,  George 
Siegmann;  Indian  Girl,  Ynez  Seabury;  Father 
Machette,  Herbert  Fortier;  Telreau,  the  Guide, 
Geno  Corrado;  The  Stranger,  William  Orla- 
mond;  M.  Redou.x,  Robert  Schable;  Mine. 
Rcdoux,  Rosemary  Theby;  Marie  Desplanes, 
Irene  Haisman;  M.  Lemond,  Cyril  Chadwick. 

"MAIN  STREET"  — Warner  Brothers 
— From  the  novel  by  Sinclair  Lewis.  Adapted 
by  Julien  Josephson.  Director,  Harry  Beau- 
mont. Photography  by  Homer  Scott  and  E. 
B.  DuPar.  The  cast:  Carol  Milford,  Florence 
Yidor;  Dr.  Will  Kennicolt,  Monte  Blue;  Dave 
Dyer,  Harry  Myers;  Erik  Valborg,  Robert 
Gordon;  Adolplt  Valborg,  Noah  Beery;  Miles 
Bjornstam,  Alan  Hale;  Bca  Sorenson,  Louise 
Fazenda;  Mrs.  Valborg,  Ann  Shacfer;  Widow 
Bogarl,  Josephine  Crowell;  Exra  Stowbody,  Otis 
Harlan;  Cy  Bogart,  Gordon  Griffith;  Chet 
Dashaway,  Lon  Poff;  Luke  Dawson,  J.  P. 
Lockney;  Sam  Clark,  Gilbert  Clayton;  Nat 
Hicks,  Jack  MacDonald;  Guy  Pollock,  Michael 
Dark;  Mrs.  Dashaway,  Estelle  Short;  Harry 
Haydock,  Glen  Cavender;  Mrs.  Dave  Dyer, 
Kathryn  Perry;  Mrs.  Stowbody,  Aileen  Man- 
ning; Mrs.  Haydock,  Mrs.  Hayward  Mack;  Mr. 
Volstead,  Louis  King;  Mrs.  Sam  Clark, 
Josephine  Kirkwood;  Mrs.  Donovan,  Louise 
Carver;  Del  Snaflin,  Hal  Wilson. 

-^"PENROD  AND  SAM"— First  National 
— Story  by  Booth  Tarkington.  Scenario  by 
Hope  Loring  and  Lewis  Leighton.  Director, 
William  Beaudine.  Presented  by  J.  K. 
McDonald.  The  cast:  Pcnrod  Schoficld,  Ben 
Alexander;  Sam  Williams,  Joe  Butterworth; 
Rodney  Bitts,  Buddy  Messinger;  Georgie  Bas- 
sett,  Newton  Hall;  Marjorie  Jones  (Penrod's 
sweetheart),  Gertrude  Messinger;  Herman,  Joe 
McCray;  Vcrman,  Gene  Jackson;  Father 
Schoficld,  Rockliffe  Fellows;  Mother  Schoficld, 
Gladys  Brockwell;  Margaret  Schofield,  Mary 
Philbin;  Robert  Williams  (Margaret's  sweet- 
heart), Gareth  Hughes;  Deacon  Bitts,  Wm.  V. 
Mong;  Maurice  Levy,  Bobbie  Gordon;  Duke 
(Pcnrod's  dog) ,  Cameo. 

"THE  SNOW  BRIDE"  — Paramount  — 
Story  by  Julie  Heme  and  Sonya  Levien. 
Scenario  by  Sonya  Levien.  Director,  Henry 
Kolker.  Photography  by  George  Webber. 
The  cast:  Annette  Leroux,  Alice  Brady;  Andre 
Porel,  Maurice  B.  Flynn;  Gaston  Leroux,  Mario 
Majeroni;  Indian  Charlie,  Nick  Thompson; 
Paul  Gerard,  Jack  Baston;  Padre,  Stephen 
Gratton;  Pierre,  W.  M.  Cavanaugh;  Lconia, 
Margaret  Morgan. 

"A  MAN  OF  ACTION"— First  National 
— A  Thomas  H.  Ince  production.  An  original 
story  by  Bradley  King.  Director,  James  W. 
Home.  The  cast:  Bruce  MacAllistcr,  Douglas 
MacLean;  Dr.  Summer,  Arthur  Millett;  Helen 
Summer,  Marguerite  de  la  Motte;  Spike 
McNab,  Wade  Boteler;  Andy,  Kingsley  Bene- 
dict; Eugene  Preston,  Arthur  Steward  Hull; 
The  "Deacon,"  William  Courtwright;  "Frisk- 
O"  Rose,  Katherine  Lewis;  Harry  Hopwood, 
Raymond  Hatton. 

/  "THE  GIRL  OF  THE  GOLDEN  WEST" 
— First  National — Story  by  David  Belasco. 
Adapted  to  the  screen  by  Adelaide  Heilbron. 
Director,  Edwin  Carewe.  Photography  by  Sol 
Polito  and  Thomas  Storey.  The  cast: 
Ramerrez,  J.  Warren  Kerrigan;  The  Girl, 
Sylvia  Breamer;  Jack  Ranee,  Russell  Simpson; 
Nina  Michcltorena,  Rosemary  Theby;  Ashby, 


Wilfred  Lucas;  Sonora  Slim,  Nelson  McDowell; 
Trinidad  Joe,  Charles  McHugh;  Castro, 
Hector  V.  Sarno;  Nick,  Jed  Trouty;  Antonio. 
Cecil  Holland;  Handsome  Harry,  Thomas 
Delmar;  Old  Jed  Hawkins,  Fred  Warren;  Pedro 
Micheltorena,  Sam  Appel;  The  Squaw,  Minnie 
Prevost. 

"CHILDREN  OF  DUST"  — First  Na- 
tional— Story  by  Tristram  Tupper.  Scenario 
by  Agnes  Christine  Johnston.  Director,  Frank 
Borzage.  Photography  by  Chester  Lyons. 
The  cast:  Tcrwilliger,  Johnnie  Walker;  As  the 
Child,  Frankie  Lee;  Helen  Livermore,  Pauline 
Garon;  As  the  Child,  Josephine  Adair;  Harvey 
Raymond,  Lloyd  Hughes;  As  the  Child,  Newton 
Hall;  Old  Archer,  Bert  Woodruff;  Terwilligcr's 
Stepfather,  George  Nichols. 

"  RAILROADED  "—Universal— Story  by- 
Margaret  Bryant.  Scenario  by  Charles 
Kenyon.  Director,  Edmund  Mortimer.  Photog- 
raphy by  Allen  Davey.  The  cast:  Richard 
Ragland,  Herbert  Rawlinson;  Joan  Duster. 
Esther  Ralston;  Hugh  Dunsler,  Alfred  Fisher; 
Judge  Garbin,  David  Torrence;  Foster,  Lionel 
Belmore;  Corton,  Mike  Donlin;  Bishop  Sclby, 
Herbert  Fortier. 

"BURNING  WORDS"  —  Universal  — 
Story  by  Stuart  Paton.  Scenario  by  Harrison 
Warren  Jacobs.  Director,  Stuart  Paton. 
Photography  by  William  Thornley.  The  cast: 
David  Darby,  Roy  Stewart;  Mary  Malcolm, 
Laura  La  Plante;  Ross  Darby,  Harold  Good- 
win; Mother  Darby,  Edith  Yorke;  Father  Darby, 
Alfred  Fisher;  John  Malcolm,  William  Welsh; 
Bad  Pierre,  Noble  Johnson;  Nan  Bishop,  Eve 
Southern;  "Slip"  Martin,  Harry  Carter;  Sgt. 
Chase,  George  McDaniels. 

"THE  SHOCK"— Universal— Story  by 
William  Dudley  Pelley.  Scenario  by  Charles 
Kenyon.  Director,  Lambert  Hillyer.  Photog- 
raphy by  D.  W.  Warren.  The  cast:  Wilse 
Dilling,  Lon  Chaney;  Gertrude  Iladley,  Virginia 
Valli;  Jack  Cooper,  Jack  Mower;  Mischa 
Hadley,  William  Welsh;  John  Cooper,  Sr., 
Henry  Barrows;  Anne  Vincent,  Christine  Mayo; 
Olaf  Wismer,  Harry  Devere;  Bill,  John  Beck; 
The  Captain,  Walter  Long. 

"DON  QUICKSHOT  OF  THE  RIO 
GRANDE" — Universal — Story  by  Stephen 
Chalmers.  Scenario  by  George  Hively. 
Director,  George  E.  Marshall.  Photography 
by  Charles  Kaufman.  The  cast:  "Pep"  Pepper, 
Jack  Hoxie;  Big  Jim  Hellier,  Emmett  King; 
Tulip  Hellier,  Elinor  Field;  Vivian,  Fred  C. 
Jones;  Bill  Barton,  William  A.  Steele;  Sheriff 
Little john.  Bob  McKenzie. 

"BOSTON  BLACKIE"— Fox— Story  by 
Jack  Boyle.  Scenario  by  Paul  Schofield. 
Director,  Scott  Dunlap.  Photography  by 
George  Schneiderman.  The  cast:  Boston 
Blackie,  William  Russell;  Mary  Carter,  Eva 
Novak;  Warden  Benton,  Frank  Brownlee; 
Danny  Carter,  Otto  Matieson;  Shorty  McNutl, 
Spike  Robinson;  John  Gil  more,  Frederick 
Esmelton. 

"SNOWDRIFT"— Fox— Story  by  James 
B.  Hendryx.  Scenario  by  Jack  Strumwasser. 
Director,  Scott  Dunlap.  The  cast  (in  pro- 
logue): Jean  McLairc,  Bert  Sprotte;  Margot 
McFarlanc,  Gertrude  Ryan;  Murdo  McFarlane, 
Colin  Chase;  Wananebish,  Evelyn  Selbie; 
Little  Margot,  Annette  Jean;  (in  story):  Carter 
Brent,  Charles  Jones;  Kitty,  Irene  Rich; 
Johnnie  Claw,  G.  Raymond  Nye;  Snowdrift, 
Dorothy  Manners;  Joe  Pete,  Lolo  Encinos; 
John  Reeves,  Lee  Shumway. 


Every  advertisement  in  niOTOTLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


"DIVORCE"— F.  B.  O.— Story  by  Andrew 
Bennison.  Director,  Chester  Bennett.  Photog- 
raphy by  Jack  MacKenzie.  The  cast:  Jane 
Parker,  Jane  Novak;  Jim  Parker,  John  Bowers; 
George  Reed,  James  Corrigan;  Mrs.  George 
Reed,  Edythe  Chapman;  Gloria  Gayne,  Mar- 
garet Livingston;  Toumsend  Perry,  Freeman 
Wood;  Tom  Tucker,  George  McGuira;  Win- 
throp  Avery,  George  Fisher;  "Dicky"  Parker, 
Philippe  de  Lacy. 

"RICE  AND  OLD  SHOES"— F.  B.  O.— 
Story  by  Carter  DeHaven.  Scenario  by 
Beatrice  Van.  Director,  Malcolm  St.  Clair. 
The  cast:  Starring  Mr.  and  Mrs.  Carter 
DeHaven. 

"MARY  OF  THE  MOVIES"— F.  B.  O.— 

Conceived  and  supervised  by  Louis  Lewyn  and 
Jack  Cohn.  Director,  John  MacDermott. 
Photography  by  George  Meehan  and  Vernon 
Walker.  The  cast:  Mary,  Marion  Mack; 
" Lait"  Mayle,  Harry  Cornelli;  Reel  S.  Tate, 
John  Geough;  Oswald  Tate,  Raymond  Cannon; 
Jane,  Rosemary  Cooper;  Creighton  Hale,  by 
himself;  James  Seiler,  Francis  MacDonald; 
John  MacDermott,  by  himself;  Jack,  Jack 
Perrin. 

"  THE  SPOILERS  '*— Goldwyn— Author, 
Rex  Beach.  Adaptation,  Fred  Myton,  Elliott 
Clawson  and  Hope  Loring.  Director,  Lambert 
Hillyer.  Photography  by  John  S.  Stumar  and 
D wight  Warren.  The  cast:  Roy  Glennister, 
Milton  Sills;  Cherry  Malottc,  Anna  Q.  Nilsson; 
Helen  Chester,  Barbara  Bedford;  Joe  Dextry, 
Robert  Edeson;  Slapjack  Simms,  Ford  Sterling; 
Bronco  Kid,  Wallace  MacDonald;  Alex. 
McNamara,  Noah  Beery;  Marshall  Voorhees, 
Mitchell  Lewis;  Bill  Wheaton,  John  Elliott; 
Struve,  Robert  McKim;  Captain,  Tom 
McGuire;  Landlady,  Kate  Price;  Matthews, 
Rockliffe  Fellows;  Burke,  Gordon  Russell;  Tilly 
Nelson,  Ix>uise  Fazenda;  Judge  Stillman,  Sam 
De  Grasse;  Mexico  Mullins,  Albert  Roscoe; 
Bill  Nolan,  Jack  Curtis. 

"THE  RAGGED  EDGE"— Distinctive 
Pictures  —  From  the  novel  by  Harold 
McGrath.  Adapted  by  Forrest  Halsey. 
Director,  Harmon  Weight.  Photography  by 
Harry  Fishback.  The  cast:  Howard  Spurlock, 
Alfred  Lunt;  Ruth  Endicott,  Mimi  Palmed; 
McClintock,  George  MacQuarrie;  The  Piano 
Player,  Christian  Frank;  O'Higgins,  Charles 
Slattery;  Ah  Cum,  Charles  Fang;  Prudence 
Jedson,  Grace  Griswold;  Angelica  Jedson,  Alice 
May;  Hotel  Manager,  Percy  Con;  Mrs.  Dalby, 
Hattie  Delaro;  Rev.  Dalby,  Sydney  Dean;  The 
Aunt,  Marie  Day. 

"THE  WHITE  ROSE"— United  Artists 
— A  D.  W.  Griffith  production.  Director,  D. 
W.  Griffith.  Photography  by  W.  J.  Bitzer, 
Hendrik  Sartov  and  H.  Sintzinich.  The  cast: 
Bessie  Williams,  otherwise  known  as  "Teanc," 
Mae  Marsh;  Marie  Carringlon,  Carol  Demp- 
ster; Joseph  Bcaugardc,  Ivor  Novello;  John 
White,  Neil  Hamilton;  "Auntie"  Easter,  Lucille 
La  Verne;  "Apollo,"  a  Servant,  Porter  Strong; 
Cigar  Stand  Girl,  Jane  Thomas;  An  Aunt,  Kate 
Bruce;  A  Man  of  the  World,  Erville  Alderson; 
The  Bishop,  Herbert  Sutch;  The  Landlord, 
Joseph  Burke;  The  Landlady,  Mary  Foy;  Guest 
at  Inn,  Charles  Mack. 

"GARRISON'S  FINISH"  — United  Ar- 
tists— Based  on  the  novel  of  the  same  name  by 
W.  B.  M.  Ferguson.  Screen  version  and  super- 
vision by  Elmer  Harris.  Director,  Arthur 
Rosson.  Photography  by  Harold  Rosson.  The 
cast:  Billy  Garrison,  Jack  Pickford;  Sue  Desha, 
Madge  Bellamy;  Colonel  Desha,  Charles  A. 
Stevenson;  Major  Desha,  Tom  Guise;  Mr. 
Waterbury,  Frank  Elliott;  Crimmins,  Clarence 
Burton;  Sue's  Friends,  Audrev  Chapman, 
Dorothy  Manners;  Lilly  Allen,  Ethel  Grey 
Terry;  Judge  of  Race  Course,  Herbert  Prior; 
Col.  Desha's  Trainer,  Charles  Ogle;  Billy's 
Mother,  Lydia  Knott. 

[continued  on  page  115] 


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CONTINUED  FROM  PAGE  49  ] 


to  the  place  from  which  she  had  jumped. 

"There  ought  to  be  a  buoy  life  preserver 
around  here  somewhere,"  said  Don,  as  he 
shucked  his  coat  and  shoes.  "See  if  you  can 
dig  that  up  while  I  locate  her." 

"Let  me  do  this,  Don,"  protested  Dick,  a 
little  slower  than  his  boss  but  nevertheless 
nearly  ready  for  the  water  also. 

Don  laughed  as  he  climbed  over.  "This  is 
a  cinch.     Don't  you  bother  to  get  wet." 

He  was  quite  right.  For  him  it  was  easier 
than  any  one  of  a  dozen  things  that  he  did 
every  day  just  to  keep  in  physical  condition. 
He  had  Arline  by  the  hair  and  was  towing  her 
to  shallow  water  before  Dick  had  found  the 
buoy  and  had  thrown  it  futilely  after  them. 

He  noticed  how  light  she  was  as  he  carried 
her  ashore,  how  light  and  how  bony,  and  sus- 
pected the  cause. 

"Where  to,  lady?"  he  asked.  "What's  the 
address?" 

Arline  regarded  him  with  dull  resentment. 
"Put  me  down  right  here.     I  can  walk." 

"But  where  are  you  going?" 

"Let's  see,  which  from  your  experience 
would  you  recommend,  The  Ambassador  or 
The  Alexandria?" 

Arline  had  not  recognized  him  and  was 
judging  him  by  his  clothes  which  were  cheap 
and  ill  fitting,  never  guessing  that  he  was  in 
costume. 

"You  mean  you  have  no  home?"  Don  in- 
terpreted. 

"Not  for  the  moment." 

By  that  time  Dick,  also  coatless  and  hatless, 
had  arrived  trailed  by  some  of  the  mechanics 
and  Don's  chauffeur  whom  he  had  collected  as 
he  went  through  the  crowd. 

To  his  chauffeur  Don  turned  over  his  bit  of 
sea  salvage. 

"Take  her  to  the  Ambassador.  Tell  the 
clerk  that  she  is  one  of  the  company  who  fell 
in  accidentally  while  we  were  shooting  this 
pier  stuff  and  that  she's  to  have  a  room  with 
bath  and,  wait  a  minute,  a  good  square  meal 
and  charge  the  works  to  me.  Tell  him  I'll  be 
over  just  as  soon  as  we  get  through  shooting 
this  scene." 

Arline  protested  feebly  but  no  one  seemed  to 
be  listening  to  her  so  she  gave  in  and  was 
carried  away  by  the  burly  chauffeur  who  trans- 
ported her  in  his  arms  until  he  arrived  at  the 
place  where  he  had  parked  his  car. 

Well,  after  long  months  of  fending  for  one's 
self  it  was  rather  nice  to  be  overruled.  She 
reveled  in  submission. 

Not  until  they  had  arrived  at  the  hotel  and 
she  had  been  escorted,  still  dripping,  by  a  back 
elevator,  up  to  a  warm  comfortable  room,  did 
she  find  out  who  her  rescuer  was. 

She  asked  the  chauffeur. 

"Him?"  he  replied  startled.  "I  thought 
everybody  in  the  world  knew.  That  was 
Donald  Kilbane." 

He  spoke  the  name  almost  with  reverence. 
Donald  Kilbane  was  his  chauffeur's  god. 

So  also  was  he  Arline  De  Vino's  from  that 
moment  on. 


Ill 


SHE  had  heard  rumors  of  his  gentleness  and 
generosity  as  such  things  filter  down  from 
the  top  to  the  darkest,  lowest  stratum  at  the 
bottom,  but  actual  contact  with  his  kindness 
and  thoughtfulness,  instead  of  making  him 
seem  more  real,  only  served  to  intensify  her 
impression  of  him  as  a  mythical  prince. 

No  real  man  could  be  so  tactfully  generous 
as  Donald  Kilbane  seemed  to  her. 

For  instance  there  was  the  way  he  offered 
her  a  position  that  would  pay  her  enough  to 
live  on.  He  did  not  do  it  himself.  Instead, 
his  casting  director  sent  for  her  and  said  there 
was  a  bit  in  the  big  production  they  were  mak- 
ing for  which  they  had  long  been  hunting  for 
a  girl  of  just  her  type  and,  if  she  would  con- 
sider working  for  the  small  salary  they  were 


able  to  offer,  why,  he  wouldn't  have  to  seek 
any  further. 

Arline  had  no  illusions  about  her  ability  or 
about  her  exact  fitness  for  the  part.  She  knew 
that  any  one  of  the  hundreds  of  jobless 
haunters  of  Hollywood  would  do  as  well  as 
herself.  But  Donald  Kilbane  had  taken  her 
on  as  one  of  his  whimsical  responsibilities  and 
she  accepted  with  the  firm  understanding  with 
her  conscience  that  she  would  some  day  repay 
the  kindness  if  it  took  everything  she  had. 

At  that  time  she  did  not  have  much — not 
even  self-respect. 

Later  she  had  a  good  deal,  including  all  her 
old  beauty  and  sweetness  which  she  won  back 
from  the  swamp  of  worry  and  despondency 
into  which  she  had  fallen.  For  she  stayed 
with  the  Donald  Kilbane  Productions  in  one 
minor  capacity  or  another  for  the  balance  of 
the  ensuing  season. 

During  all  that  time  she  had  scarcely  any 
personal  contact  with  the  star  himself.  It  was 
seldom  that  she  even  worked  on  the  set  at  the 
same  time  that  he  did.  But  she  worshipped 
respectfully  from  a  distance  none  the  less  and 
got  a  lot  of  kick  out  of  the  smile  he  gave  her 
when  he  met  her  casually  on  the  lot. 

Donald  Kilbane  was  married  to  Irene 
Kemble,  a  star  in  her  own  name  under  the 
Goldmount  banner,  and,  according  to  rumor 
and  also  according  to  visual  fact,  they  were 
devoted  to  each  other.  They  did  not  work  in 
the  same  pictures  because  their  combined  sal- 
aries would  have  been  an  overload  for  the  pro- 
ductions but  they  spent  all  their  time  together 
off  the  set  and  when  one  or  the  other  did 
not  happen  tp  be  busy  he  or  she  helped  with 
the  production  of  the  other.  Sometimes  Irene 
would  walk  on  in  a  ballroom  or  a  wedding 
scene  on  her  husband's  lot  and  often  Donald 
would  be  in  the  mob  of  angry  strikers;  or  riding 
with  the  rescuing  cowboys  or  doing  something 
similarly  foolish  in  the  big  scenes  of  Irene's 
feature  releases. 

Anyone  could  tell  by  seeing  them  together 
that  Donald  Kilbane  had  no  doubts  as  to 
where  his  sun  rose  and  set.  It  is  a  question 
whether  Irene  returned  his  devotion  absolutely 
in  kind  but  love  affairs  have  to  be  that  way; 
one  does  the  adoring  and  the  other  is  adored. 

Irene  was  a  creature  to  evoke  masculine 
worship.  She  was  all  fire  and  color,  tiny  but 
dynamic,  full  of  impulsive  femininity  that 
craved  constant  action  as  an  outlet.  It  took 
a  man  of  alert  and  vivid  personality  such  as 
Don  to  keep  up  with  her,  to  come  anywhere 
near  satisfying  the  many  diversified  sides  of 
her  nature. 

Arline  admired  Irene  tremendously,  ad- 
mired and  envied  her.  The  star  had  every- 
thing that  the  extra  girl  lacked,  positive 
charm  instead  of  just  sweetness,  assertiveness 
instead  of  submission,  and  last  but  not  least 
Donald  Kilbane  instead  of  no  one.  The 
thought  of  that  last  possession  was  one  that 
Arline  never  allowed  herself  to  dwell  upon. 
Heavens,  no.  She  didn't  even  know  that  she 
was  in  love  with  him  herself.  Maybe  she 
wasn't.  The  feeling  she  had  for  him  rather 
transcended  mere  mortal  affection.  It  com- 
bined mother  love,  religious  worship,  every- 
thing. She  just  wanted  to  be  of  use  to  him 
in  some  way,  not  to  ask  anything  of  him. 
Had  he  but  realized  it  Arline's  unworldly 
devotion  was  one  of  the  brightest  jewels  in 
Donald  Kilbane's  crown. 

As  for  Irene  Kemble,  she  did  not  know  that 
Arline  De  Vino  existed. 


IV 


"  T  TFJ.T.O  dove,"  yelled  someone  behind  her 
-L^-as  Arline  cleared  the  watchman  at  the 
gate  and  walked  out  from  the  studio  one  even- 
ing in  spring — the  next  spring. 

She  turned  and  waited.  "Hello,  Richard," 
she  replied  primly.  It  was  a  pose.  She  was 
on  the  friendliest  of  terms  with  Dick  Carver 


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I  i  I 


and  she  was  not  afraid  of  him  in  the  least, 
although  he  often  pretended  to  be  very  rough 
with  her,  a  cave-villain  off  the  lot  even. 

When  he  wasn't  doing  that  he  made  love 
to  her,  in  extravagant  terms  and  preferably 
before  people.     Because  it  teased  her  so. 

"I'm  going  to  give  you  one  last  chance,  oh 
rose  of  desire,  to  yield  to  my  passionate 
pleading'' 

"Why  last?" 

"  Because  I  am  going  hence  off  from  this  set. 
I  hence  tomorrow,  honeybunch,  and  I  shall 
work  no  more  evil  for  Kilbane  Productions 
for  many  a  moon  to  come." 

"Fired?"  Arline  was  genuinely  surprised. 
Don  and  Dick  were  inseparables,  Damon  and 
Pythias. 

"Not  exactly.  I  calls  it  promotion,  little 
one,  promotion.  I  are  about  to  become  a 
leading  gent." 

"In  comedies?" 

"Ouch.  Not  so  that  you  could  notice  it. 
Gad,  that  last  crack  stings  yet.  You've  got 
a  new  lash  on  your  whip  today,  haven't  you? 
Inciter  of  Men's  Baser  Nature  that  you  are. 
No,  darling  one,  I'm  to  be  head  camel  driver 
for  Irene  Kemble's  next  knock-out.  I'm  going 
to  languish  for  love  of  her  for  seven  reels 
instead  of  thwarting  her  husband  as  of  yore. 
Don's  going  to  get  a  new  bad  boy  and  let  me 
act  my  own  sweet  self  for  a  change.  You're 
not  jealous  are  you?"  he  asked  anxiously. 
"Because  I'll  really  be  thinking  of  you  all  the 
time  I'm  whispering  passionate  nonsense  in 
Mrs.  Kilbane's  ear." 

She  assured  him  gravely  that  she  would  not 
be  jealous. 

"That's  what  I  was  afraid  of.  Curse  th;;t 
handsome  dog  for  jumping  off  ihe  pier  first. 
1  le  beat  me  by  one  shoe  lace  or  I  would  have 
been  the  one  to  bear  your  lovely  fainting  form 
from  the  maw  of  the  briny  deep.  Ever  since 
then  I've  worn  Congress  gaiters  when  I've 
gone  to  the  beach  but  I  haven't  had  any  luck. 
There's  nothing  in  the  ocean  but  fish  any 
more." 

ARLINE  blushed  at  the  implication  that  she 
was  in  love  with  Donald  Kilbane.  That's 
why  he  had  mentioned  it.  Blushing  added 
the  vividness  to  Arline's  beauty  which  was 
what  she  lacked  habitually.  She  was  very 
lovely  so  and  Dick  paused  in  his  speech  to 
admire  the  effect  he  had  produced.  It  was 
his  habit  to  so  do. 

She  was  genuinely  sorry  to  see  him  go,  for 
she  liked  Dick  Carver  tremendously.  Next 
to  Donald  Kilbane  he  had  more  charm  than 
any  man  she  knew.  She  expressed  her  regrets 
but  congratulated  him  on  the  step  upward  in 
the  ladder. 

"But  don't  fall  in  love  with  your  leading 
lady,"  she  warned. 

"  How  can  you  suggest  such  a  thing,  Moon 
of  My  Desire?  When  I  have  you  do  you 
think  I  could  look  at  a  mortal  born  female?" 

"But  you  haven't  got  me." 

"Just  the  same  as.  I  know  you're  only 
waiting  for  the  crooking  of  my  finger  to  run 
to  me  with  draperies  flying.  Here's  my  street. 
Adios,  fair  one,  until  I  summon  thee.  The 
°ignal  will  be  when  I  clap  my  hands  three 
limes,  thus.  Then  you  enter  bowing  low  and 
sink  submissively  on  the  cushions  at  my  feet." 

He  probably  would  have  said  more  but 
Arline  walked  on  leaving  him  still  talking. 

She  was  smiling,  though,  as  she  left  him.  It 
was  nice  to  be  thought  worthy  of  a  man's 
nonsense. 

Besides  she  never  could  quite  tell  but  what 
he  meant  a  litt'e  of  ;t.  Richard  Carver  had 
rather  inscrutable  brown  eyes  that  often 
?eemed  to  contradict  ever_.  thing  that  his  lip-* 
weresay'ng 

The  one  person  in  all  the  world  who  should 
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fancy  was  Richard  Carver  That  was  prob- 
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for  him  the  one  grand  infatuation  of  her  life. 

Before  she  had  finished  working  with  him  in 
that  one  picture  she  was  his  abject  slave.  She 
was  restless,  unhappy  away  from  him  and  in 


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his  society  she  found  only  a  teasing  solace. 
Something  about  him  intrigued  her.  Perhaps 
it  was  because  he  was  so  very  different  from 
Don.  Dick  was  a  man  of  concealed  moods,  he 
was  a  mocker  and  a  jester  at  conventions  while 
Don  was  more  orthodox  than  a  Methodist 
deacon. 

At  first  Dick  did  not  realize  what  was  hap- 
pening and  then  he  stood  back  aghast  at  what 
he  had  done.  At  that  he  could  not  figure  out 
exactly  how  it  had  occurred.  Certainly  he  had 
had  no  intention  of  being  disloyal,  of  abusing 
the  privileges  which  had  been  granted  him. 

He  could  not  help  being  secretly  flattered 
withal.  Irene  Kemble's  homage  was  rather 
like  that  of  a  queen.  Besides  he  had  no  inten- 
tion of  taking  advantage  of  it.  When  the 
picture  was  finished  he  would  go  away,  would 
even  slow  down  his  friendship  for  Don  himself 
so  that  there  would  be  no  opportunity  for  a 
tragedy. 

V 

"DUT  celluloid  burns  faster  than  asbestos, 
■'-'passion  breaks  speed  records  under  the  forc- 
ing of  Cooper-Hewitts  and  Kliegs  and  rumor 
races  in  Hollywood  like  prairie  fire. 

There  began  to  be  talk. 

Even  Arline  De  Vino  heard  it  and  it  made 
her  desperately  unhappy. 

She  didn't  know  what  could  be  done  about 
it.  No  one  realized  better  than  herself  that 
love  does  not  always  go  where  it  is  directed. 

But  her  woman  heart  bled  for  the  boyish 
idealism  of  Donald  Kilbane  if  he  should  ever 
find  out  that  his  world  was  out  of  time  and  it 
seemed  impossible  that  he  should  remain  in 
darkness  much  longer.  It  was  only  because 
everyone,  like  herself,  adored  and  shielded  him 
that  he  had  not  yet  been  disillusioned.  Every- 
one, like  herself,  too,  was  hoping  that  some- 
thing would  turn  things  for  the  better  before 
a  crash  came. 

Because,  singularly  enough,  nearly  everyone 
also  cared  for  Dick  Carver  and  trusted  him  to 
keep  the  ship  out  of  absolutely  desperate 
waters  as  long  as  it  was  humanly  possible. 

The  Irene  Kemble  unit  was  on  location  at 
Arrowhead  taking  snow-stuff.  They  were 
getting  plenty  of  atmosphere  because  a  big 
storm  had  penned  them  in.  Their  schedule 
called  for  two  days  in  the  mountains  and  they 
had  already  been  gone  five.  Telephone  lines 
were  down  and  communication  was  completely 
cut  off.  A  messenger  on  snowshoes  came 
through  to  a  place  where  he  could  call  Los 
Angeles  and  reported  that  it  looked  as  if  it 
would  be  impracticable  to  move  the  outfit  for 
a  week  but  that  they  were  comfortable  and 
had  enough  supplies. 

Donald  Kilbane  would  not  have  fussed  about 
it  so  much  if  he  had  not  been  fearfully  lone- 
some. He  was  a  gregarious  creature  and  de- 
pended upon  the  companionship  of  his  wife 
and  his  friends,  especially  Dick,  who  rated  as 
Number  One  in  the  front  rank.  Not  having 
anything  to  do  when  not  actually  working,  he 
fretted  and  imagined  things — not  the  truth, 
other  things  not  so  bad  but  plenty  bad.  He 
was  boyish  enough  to  picture  physical  dangers 
instead  of  psychological  ones;  he  thought  of 
Irene  as  assailed  perhaps  by  wolves  and  bears 
and  never  as  the  victim  of  the  ravenous 
monsters  Propinquity  and  Idleness. 

But  no  one  else  shared  Donald  Kilbane's 
guileless  concern.  There  was  more  conjecture 
as  to  the  outcome  of  the  "Arrowhead  sequence," 
as  it  was  called,  than  about  the  probable  cost 
and  footage  of  Von  Stroheim's  next  picture. 

Arline  did  not  happen  to  be  working  in  the 
scenes  they  were  shooting  at  the  studio  that 
week  and  she  never  hung  around  when  she  was 
not  called,  but  she  sensed  the  approaching 
climax  and  heard  plenty  about  it  besides. 

Her  most  direct  source  of  information  was 
Larry,  Mr.  Kilbane's  chauffeur.  He  was  one 
of  the  ones  who  had  guessed  Arline's  secret 
and  he  knew  that  she  was  as  loyal  to  the  boss 
as  he  was  himself.  Secure  in  this  knowledge 
he  came  to  her  when  he  just  "had  to"  talk. 

"He's  thinking  about  going  up  there  himself. 
Only  this  morning  he  says,  'Will  the  big  car 


or  the  roadster  buck  snow  drifts  the  best? 
What  do  you  think,  Larry?'  If  he  should  ever 
start,  'Good-night.'  There's  no  way  of  getting 
word  to  'em  with  the  telephone  down." 

"I  wonder,"  mused  Arline,  "if  maybe  it 
wouldn't  be  better  for  him  to  go  and  get  it 
over  with  this  trip." 

Larry  laid  a  hand  on  her  arm.  "You're 
thinking  young,  lass.  I'm  older  and  I've  been 
married  myself  a  long  time.  I  don't  even  con- 
demn Mrs.  Kilbane.  About  every  so  often 
married  folks  get  a  crazy  fit  and  feel  as  if  they'd 
bust  something  if  they  didn't  stretch.  Usually 
it  comes  to  nothing  because  the  harness  holds 
most  of  us  so  tight.  But  sometimes  it  happens 
when  we're  loose  in  the  pasture  and  then 
'Blooie!'  we  kick  out  a  section  of  fence  and 
raise  Ned  generally." 

"The  boss  doesn't  get  that  way." 

"No,  he  never  has.  But  he's  a  little  more 
than  a  human  being,  he's  better  than  that,  if 
you  get  what  I  mean.  He's  like  a  kid  that 
won't  grow  up.  Why,  he  almost  believes  in 
Santa  Claus  yet.  That's  why  he  can  act  those 
pictures  about  the  chivalrous  gents  of  olden 
times  so  well.  The  poor  boob  thinks  they're 
real.  And  I'm  afraid  that  if  this  thing  we're 
fearing  hits  him,  part  of  him,  maybe  the  best 
part,  will  die.  I'd  give  this  right  hand  to 
prevent  it." 

"And  I'd  give  all  of  me." 

TT  was  because  she  promised  that  so  rever- 
ently that  Larry  came  back  to  her  the  next 
morning — early  before  she  had  eaten  her  break- 
fast. She  made  him  sit  down  and  share  a  cup 
of  coffee  with  her  while  he  told  her  the  latest 
developments. 

"Did  you  see  this?" 

He  spread  out  the  newspaper  which  he  had 
been  carrying  in  his  pocket  and  handed  it 
across  to  her  with  a  forefinger  pointing  to  a 
paragraph. 

It  was  in  the  society  column — an  unusual 
place  for  an  item  about  screen  people  but  then, 
the  Kilbanes  were  unusual  exponents  of  the 
silent  art. 

It  read: 

"One  of  our  rather  more  than  ordinarily 
prominent  film  stars  is  doubtless  enjoying 
greatly  her  enforced  vacation  in  the  mountains. 
Being  snowed  in  is  not  so  bad  after  all,  es- 
pecially if  one's  husband  is  snowed  out  and 
another  interesting  man  happens  to  be  in  the 
marooned  party." 

"That  was  a  dirty  thing  to  do,  wasn't  it?" 
demanded  Larry.  "Of  course  the  paper 
doesn't  mention  any  names  but  everybody 
knows  who  it  means.  If  it  had  been  in  the 
regular  screen  department  our  publicity  man 
would  have  caught  it  But  who  would  have 
expected  this  among  the  society  notes?" 

"Has  he  seen  it?"  Arline  asked  practically. 

Larry  nodded.  "That's  why  I  am  here  to 
talk  to  you.  I  don't  know  what  to  do.  He's 
going  to  start  for  Arrowhead  in  an  hour.  I 
am  to  drive  him,  or  try  to.  The  worst  of  it 
is  we  can  get  through  if  we  want  to.  He's 
taking  snowshoes  and  climbing  togs.  How  in 
the  name  of  heaven  are  we  going  to  get  word 
to  her  ahead  of  him?" 

Arline  sat  clenching  her  hands.  There  had 
to  be  some  way,  there  just  had  to  be,  that's  all. 
She  forgot  her  coffee  and  it  grew  cold  while  she 
cudgeled  her  brain.  Larry  apparently  thought 
well  of  her  ingenuity  because  he  paid  her  the 
tribute  of  respectful  silence. 

She  snapped  her  fingers.  "Larry,"  she  said, 
"can  you  have  an  accident  along  the  line  that 
will  delay  you  several  hours?  Something  that 
would  happen  quite  far  from  a  repair  shop 
where  you  would  have  to  walk  either  forward 
or  back  for  several  miles?" 

"I  could  pretend  to  strip  a  driving  pinion," 
suggested  Larry. 

"Pretends  won't  do,"  Arline  criticized. 
"The  boss  knows  too  much  about  cars  himself. 
You  have  actually  got  to  break  something  that 
neither  one  of  you  can  fix  and  give  me  at  least 
two  or  three  hours  start." 

"You!    What  are  you  going  to  do?  " 

"  I  am  going  to  get  to  Arrowhead  first.  After 


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"3 


that,  I  don't  know.    I'll  have  plenty  of  time  to  I 
think  while  I'm  on  the  way." 

"Why  not  send  a  man?  "  Larry  suggested. 

"  Can  you  think  of  anyone  we  would  want  to 
trust  with  the  errand?  You  can't  go  yourself. 
That  leaves  me.  Besides  I  think  maybe  I  can 
square  things  where  a  man  could  not." 

"But  can  you  get  through?" 

"I've  got  to  get  through." 

"Don't  forget  the  snow." 

"Larry,  I  was  brought  up  in  the  country 
where  winter  was  invented  and  I  was  born 
with  snowshoes  on  my  feet." 


VI 


DONALD  KILBANE'S  roadster  was  stalled 
in  the  foothills.  He  helped  his  chauffeur 
look  for  the  trouble. 

The  gasoline  tank  was  empty. 

Kilbane  swore  at  Larry,  something  unprece- 
dented. "How  in  hell  could  you  forget  to  fill 
it?" 

"I  did  fill  it  last  night."  Larry  was  examin- 
ing the  tank.  "There's  a  hole  in  it  right  here 
underneath.  We  must  have  struck  a  sharp 
rock  somewhere  a  ways  back." 

Don  examined  it  himself.  "It  looks  to  me 
more  as  if  we  had  hit  a  sharp  cold  chisel  or  a 
steel  punch."  He  got  up.  "  Find  some  wood 
and  make  a  plug." 

"You  can't  get  any  gas  here." 

"Make  the  plug."  Don  seldom  spoke  so 
sharply  to  anyone. 

Larry  was  about  right  in  his  remark  about 
the  scarcity  of  gasoline  thereabouts.  The  spot 
could  not  have  been  better  chosen  if  he  had 
been  able  to  calculate  deliberately  in  advance 
just  where  the  last  drop  would  give  out. 

But  Larry  was  not  a  man  of  much  resource 
or  very  imaginative.  If  he  had  been  he  would 
have  broken  something  else  or  short-circuited 
the  wiring  while  his  employer  went  up  the  road 
to  see  what  he  could  see.  Instead  he  merely 
made  the  plug  as  ordered  and  drove  it  into  the 
hole  he  had  carefully  punched  just  before  they 
started. 

Don  was  back  in  fifteen  minutes  driving  an 
old  rattletrap  of  a  car  that  had  been  painted 
last  just  before  the  war.  Beside  him  sat  a  man 
twice  his  size  with  a  black  eye  evidently  re- 
cently acquired. 

Neither  made  any  explanations.  Larry 
needed  none.  He  had  seen  his  employer  box, — 
always  in  fun,  though. 

"Loosen  the  bolts  that  hold  the  tank  straps," 
he  ordered  and  Larry  obeyed. 

Don  helped  him.  They  had  the  stranger's 
gasoline  tank  off  in  three  minutes  and  were 
feeding  his  supply  into  their  own  car  in  five. 

"You  can  put  the  tank  back  on,  yourself," 
said  Don  to  the  mad  but  subdued  autoist. 
"  Here's  ten  dollars  for  your  gasoline  and  your 
lost  time.  I've  left  you  about  a  quart.  You 
ought  to  be  able  to  get  somewhere  on  that. 
I'm  sorry  you  wouldn't  sell  me  your  gasoline  in 
the  first  place." 

To  Larry:  "I'll  drive  the  rest  of  the  way 
myself.  You  seem  to  have  developed  a  sudden 
bump  of  caution  that  would  be  worthy  of  a 
maiden  lady  of  eighty." 

Larry  had  to  hang  onto  his  hat  for  the  next 
hour.  Don  missed  a  few  of  the  bumps  but  only 
accidentally. 

The  deposed  chauffeur,  having  no  other 
occupation,  tried  to  think  of  anything  he 
might  do  besides  pray,  but  his  mind  refused  to 
give  up  a  single  idea. 

When  they  reached  the  snow  they  found  the 
tracks  of  another  car  and  later  they  actually 
met  it  returning. 

"You  can't  get  through,"  the  driver  yelled 
at  them,  but  Don  paid  no  attention. 

Larry  was  glad  that  he  did  not.  He  hoped 
that  was  the  car  Arline  had  come  up  in  and 
that  she  had  at  least  that  much  start. 

They  came  to  the  place  where  the  other 
driver  had  given  up  but  Don  went  on.  His 
powerful  roadster  proved  to  be  a  wonderful 
snow  plow.  Drifts  delayed  them,  but  they 
managed  to  buck  through  a  great  many  with 
the  white  rampart  in  front  of  the  radiator  pil- 


A  Big,  Heart 
Drama  ! 


Watch  for 
this  one! 


1__JERE'S  another  heart  drama  with  that  infinitely  tender  touch  that 
A  *■  brings  the  tears  to  the  eyes  and  yet  a  smile  to  the  lips.  It  has  that 
same  quality  that  made  you  like  "Humoresque"  and  it  is  made  by  the 
same  director. 

It  is  a  picture  that  every  one  will  enjoy  and  one  that  no  one  will  ever  forget. 
Watch  for  this  one  at  your  theatre — and  be  sure  not  to  miss  it. 

Ask  your  theatre  owner  if  he  plays  First  National  pictures,  and  watch  for 
the  trade-mark  on  the  screen.  It  is  the  sign  of  the  ultimate  in  artistic 
and  entertaining  pictures. 

Arthur   H.  Jacobs  presents 

A  FRANK  BORZAGE   production 


"CHILDREN  oP  DUST 


a 


By  3Hstram  Supper 

lOitti  a  stellar  cast  including 

Johnny  walker  -  Pauline  Garon 
Cloud  ZKugKes 

directed    hy 

3rank  ^Borzatje 


V-rfr 


10  _ 

months 
to  pay- 

Afew 
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ado/. 


A  real  bargain,  7  bine-white  Dia- 
monds set  to  look  like  a  brilliant  $700.00 
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hand  made  mounting.  Gentleman's 
ring,  same  price* 

lO  DAYS'  FREE  TRIAL 

Merely  send  $2.00.    Shipment  made  without 
redtape."  Examine  it—wear  It  10  days.    If 
not  convinced   It  is  the  Greatest  Bargain  in 
.,-     America,  return  it  and  your  $2.00  will  berefun- 
btJw  /    ded-    It  you  keep  ft.  pay  only  $5.48  monthly-a 
■Tr, T  /    matter  of  a  lew  cents  a  day— until  the  Special 
'I  i  1   Bargain  Price  of  $66.75  Is  paid.    Sold  under  a 
gilt  edge  Protective  Guarantee.    You  get  8  per 
centlyearly  dividend  on  this  purchase  also  5  i»er 
cent  bonus. 

Send  for  it  today, 
nds  of  bar  trail 

roar  i 


Million 
'  Dollar 
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Book 


rKtt 


Th« 


-tlilr 


irj 


by  writing  to 
DePt-C172 


J.M.LYON6CO.INC 

2t4  iMaiden  Lane.vVew  York 


An  Easy  Way  to 

Remove  Dandruff 


If  you  want  plenty  of  thick,  beautiful, 
glossy,  silky  hair,  do  by  all  means  get  rid 
of  dandruff,  for  it  will  starve  your  hair  and 
ruin  it  if  you  don't. 

The  best  way  to  get  rid  of  dandruff  is  to 
dissolve  it.  To  do  this,  just  apply  a  little 
Liquid  Arvon  at  night  before  retiring;  use 
enough  to  moisten  the  scalp,  and  rub  it  in 
gently  with  the  finger  tips. 

By  morning,  most,  if  not  all,  of  your 
dandruff  will  be  gone,  and  three  or  four 
more  applications  should  completely  re- 
move every  sign  and  trace  of  it. 

You  will  find,  too,  that  all  itching  of  the 
scalp  will  stop,  and  your  hair  will  look  and 
feel  a  hundred  times  better.  You  can  get 
Liquid  Arvon  at  any  drug  store.  A  four- 
ounce  bottle  is  usually  all  that  is  needed. 

The  R.  L.  Watkins  Co.,  Cleveland,  Ohio. 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


ii4 


Photoplay  Magazine — Advertising  Section 


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ing  up  higher  and  higher  at  each  buck. 

Finally  Don  decided  to  abandon  the  car  and 
take  to  snowshoes.  "You  can  come  along,  or 
stay  with  the  car  if  you  like,"  he  told  Larry. 
"  Perhaps  yon  can  turn  it  around  and  get  back 
to  gasoline  somewhere." 

"I'll  come  with  you,"  Larry  decided. 

He  drained  the  radiator  and  put  on  snow- 
shoes.  His  boss  was  already  several  hundred 
yards  ahead. 

Larry  got  very  tired  trying  to  keep  up. 
Devotion,  however,  drove  him  on  to  exertion 
that  he  would  never  have  put  forth  on  his  own 
account.  Ascending  a  grade  on  snowshoes  is 
no  child's  play.  Donald  Kilbane  was  in  per- 
fect physical  condition.  But  Larry  was  not. 
His  wind  was  not  what  it  had  been  before  the 
government  gave  him  the  little  button  to  wear 
on  his  coat  lapel.  It  took  the  heart  right  out  of 
Larry  to  keep  his  employer  in  sight. 

With  half  a  mile  to  go  Larry  saw  a  dark 
figure  ahead  of  them  floundering  along  with  the 
peculiar  ungraceful  stride  of  a  person  on  snow- 
shoes.    He  knew  who  it  was. 

She  was  not  taking  exactly  the  same  route  as 
themselves.  That  was  why  they  had  not  run 
across  her  tracks. 

Larry  had  reached  the  last  ounce  of  his 
strength.  He  had  his  teeth  clenched  and  his 
breath,  what  there  was  of  it.  was  whistling 
through  them  like  steam  through  a  leaky  valve. 
His  heart,  too,  was  pumping  painfully.  He 
just  couldn't  go  any  further.  He  felt  that  he 
had  failed  egrcgiously.  Arline  didn't  have  a 
long  enough  start.  She  could  scarcely  get  there 
ahead  of  Don  because  he,  with  his  superior  man 
strength,  was  going  at  a  rate  of  speed  that  was 
faster  than  any  woman  could  maintain. 

Perhaps  it  was  merely  fatigue  and  desper- 
ation but  maybe  it  was  a  last  minute  flash  of 
strategic  genius  that  made  Larry  halt  on  the 
edge  of  a  rocky  drop  where  the  road  was  built 
up  against  the  side  of  a  hill.  He  stopped,  hesi- 
tated a  moment  and  then  yelling,  "Help!"  he 
stepped  over  the  edge. 

Donald  Kilbane  turned  back. 

VII 

ARLINE  DE  VINO  found  them  together 
just  as  she  had  expected. 

"Mr.  Kilbane  will  be  here  in  fifteen  min- 
utes," she  said  breathlessly. 

"Who  are  you?"  demanded  Irene  Kilbane. 

"Does  that  matter?" 

"Never  mind  the  questions,"  interrupted 
Dick,  who  sensed  the  tenseness  of  the  situation. 
"This  is  Miss  De  Vino,  who  is — " 

"Mr.  Carver's  fiancee,"  Arline  supplied 
rapidly. 

"You  told  me — " 

"Men  lie,"  Arline  interrupted  impatiently. 

Dick  didn't  quite  understand,  but  he  was 
evidently  anxious  to  follow  the  girl's  lead. 

"There's  one  way  to  save  a  great  deal  of  un- 
happiness,"  Arline  planned  out  loud. 

"  Yes?  "  Irene  Kilbane  was  inclined  still  to  be 
a  little  supercilious  with  this  young  woman 
whom  she  did  not  know. 

"Dick,"  said  Arline  seriously,  "would  you 
mind  marrying  me  right  now?  It  will  cancel 
all  questions." 

Irene  started  to  protest.  "Why,  Dick,  you 
wouldn't,  you  couldn't — " 

But  Dick  had  a  mind  of  his  own,  too,  and  he 
saw  that  Arline's  plan  would  extricate  them  all 
from  a  devilish  position. 

"Yes,"  he  agreed  and  he  showed  that  he, 
too,  realized  the  necessity  of  haste.  "Come 
on.  There  may  not  be  a  minister  available  but 
if  necessary  we  will  fake  it  and  have  a  second 
ceremony  later." 

VIII 

DONALD  KILBANE  walked  in  carrying 
Larry  who  had  a  broken  leg,  half  an  hour 
later.  The  ceremony  had  just  been  completed 
and  he.  in  wondering  amazement,  was  the  first 
one  to  congratulate  the  groom  and  kiss  the 
bride. 

"Two  of  the  finest  people  in  the  world,"  he 


told  his  wife,  who,  in  a  dazed  acceptance  of  the 
situation  stood  at  his  side  within  the  circle  of 
his  arm.  "My  sincerest  hope  for  them  both  is 
that  they  will  be  as  happy  as  we  have  been  but 
that,  dear  heart,  is  impossible." 

There  were  tears  in  his  eyes,  foolish  boyish 
tears,  as  he  kissed  her  hand. 

Irene  looked  across  his  bowed  head  at  the 
two  who  had  saved  his  idealism,  worthless  per- 
haps in  this  cynical  age.  She  smiled  at  them,  a 
wry  smile  at  first  and  then  her  lip  trembled  and 
a  tear  came  to  her  eye,  too,  disappointment 
perhaps,  relief  maybe,  rediscovered  happiness 
perchance. 

Anyway  she  bent  her  head,  too,  and  brushed 
with  her  lips  the  boyishly  ruffled  hair  of  her 
lord. 

The  extra  who  had  been  chosen  to  be  the 
minister  because  Donald  Kilbane  did  not  know 
him,  put  away  the  Bible  which  he  had  been 
using  as  a  prop  and  left  the  room  on  tip-toes. 
He  felt  that  he  was  a  false  note. 

He  was. 


IX 


T>  ICHARD  CARVER  came  to  call  on  his 
J-Vvife  one  sunny  morning.  He  had  been 
doing  that  about  every  so  often  for  a  year, 
oftener  during  the  last  two  or  three  months. 

"Don  wants  me  to  come  back  and  play  the 
heavy  in  his  next  picture.  What  shall  I  do?  " 
He  always  asked  Arline's  advice. 

Of  late  he  had  been  conspicuously  absent 
from  the  Kilbane  casts — both  of  them. 

"Do  you  want  to  do  it?  "  Arline  asked.  She 
was  very  sweet  in  her  cross-barred  apron. 

"I've  missed  not  being  with  him  this  year 
very  much.    He  says  he  has  missed  me,  too." 

"Can  you  conceal  your  feelings  enough  to 
appear  indifferent  to  Irene?" 

Dick  regarded  her  quizzically  for  a  moment. 
He  grinned  and  took  up  his  old  manner  of 
speaking.  "Ain't  got  no  feelings,  sentiments, 
yearnings,  nothing  any  more,  Oh  Passionate 
Pomegranate  Blossom.  I'm  a  married  man, 
I  am,  and  desperately  in  love  with  my  wife." 

Arline  looked  up  at  him  questioningly.  It 
was  the  first  time  he  had  said  anything  like 
that  even  in  jest. 

"  Oh,  yes,  I  mean  it,"  he  answered  her  optical 
inquiry.  "No  man  who  really  knew  you  could 
help  loving  you,  wistful  woman  that  you  are, 
and  I  am  certainly  no  exception  when  it  comes 
to  masculine  susceptibility.  I'd  give  all  my 
life  if  I  had  been  the  one  who  carried  you  ashore 
that  night  and  had  won  your  love." 

"You  have,  Dick."    Seriously. 

He  looked  up  incredulous.  "You  haven't 
quit  caring  for  Don?" 

"No.  I  don't  think  I  ever  shall.  But  I've 
never  felt  toward  him  the  way  a  girl  should  feel 
toward  her  husband." 

"How  is  that?" 

"Oh,  a  sort  of  pity  for  his  foolishness  all 
mixed  up  with  an  admiration  for  his  few  good 
qualities  and  a  forgetfulness  of  both  of  them 
when  he  is  around." 

"Do  you,  by  any  chance  feel  that  way  to- 
ward rhe  on  this  bright  spring  day  of  the  year 
of  our  Lord,  1923?" 

She  nodded. 

"Then  I'll  bring  in  my  suitcase?" 

Arline  laughed.  "Do  you  mean  to  say  that 
you've  got  it  outside?" 

"  Sure.  I've  brought  it  over  in  my  car  every 
time  I  've  called — oh,  ever  since  last  Christmas. " 

"The  nerve  of  you — why,  Dick,  you  need  a 
shave." 

"Why,  oh  Ravisher  of  Men's  Hearts,"  Dick 
asked  later,  rather  wistfully  and  like  a  child 
who  wishes  to  be  reassured,  "why  do  you  care 
for  me  when  you  know  me  as  I  am?  " 

"Why?" 

"Yes." 

Arline  laughed,  the  throaty  laugh  of  a  con- 
tented woman.  "For  the  same  reason  that 
every  woman  loves  her  husband. 

Mystified.    "Why  is  that?" 

"Because  he  happens  to  be  hers.  She 
doesn't  need  any  other  reason  " 

"Thank  heaven!" 


Even  advertisement        PHOTOPLAY  MAGAZIXE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


Casts  of  Current 
Photoplays 

[  CONTINUED  FROM  PAGE  109  ] 

"THE  MARK  OF  THE  BEAST"— W.  W. 

Hodkinson — Story,  play  and  photoplay  by 
Thomas  Dixon.  Director,  the  author.  Photog- 
raphy by  Harry  Fishback.  The  cast:  Dr. 
David  Hale,  Robert  Ellis;  Ann  Page,  Madelyn 
Clare;  Donald  Duncan,  Warner  Richmond; 
John  Hunter,  Gustav  Von  Seyffertitz;  Jane 
Hunter,  Helen  Ware. 

"THE  MAN  NEXT  DOOR "— Vitagraph 
— Story  by  Emerson  Hough.  Scenario  by  C. 
Graham  Baker.  Director,  Victor  Schertzinger. 
The  cast:  Bonnie  Bell,  Alice  Calhoun;  Colonel 
Wright,  David  Torrence;  Curly,  Frank  Sher- 
idan; Jimmy,  James  Morrison;  David  Wisner, 
John  Steppling;  Mrs.  Wisner,  Adele  Farring- 
ton;  Kathcrine  Kimberly,  Mary  Culver;  Tom 
Kimberly,  Bruce  Boteler. 

"THE  EXCITERS"— Paramount— Based 
on  the  play  of  the  same  name  by  Martin 
Brown.  Scenario  by  John  Colton  and  Sonya 
Levien.  Director,  Maurice  Campbell.  Photog- 
raphy by  George  Webber.  The  cast:  Ronnie 
Rand,  Bebe  Daniels;  Pierre  Marlcl,  Antonio 
Moreno;  Rackham,  the  Lawyer,  Burr  Mcintosh; 
Ermintrude,  Diana  Allen;  Roger  Patton,  Cyril 
Ring;  Hilary  Rand,  Bigelow  Cooper;  Mrs. 
Rand,  Ida  Darling;  Delia  Vaughen,  Jane 
Thomas;  Mechanician,  Allan  Simpson;  Minis- 
ter, George  Backus;  "Gentleman  Eddie,"  Henry 
Sedley;  "Chloroform  Charlie,"  Irvil  Alderson; 
"Flash"  Tom  Blake. 

"THE  HEART  RAIDER  "—Paramount 
— Story  by  Harry  Durant  and  Julie  Heme. 
Scenario  by  Jack  Cunningham.  Director, 
Wesley  H.  Ruggles.  Photography  by  Charles 
E.  Schoenbaum.  The  cast:  Muriel  Gray,  a 
speed  girl,  Agnes  Ayres;  John  Dennis,  a 
bachelor,  Mahlon  Hamilton;  Gaspard  Mc- 
Mahon,  an  insurance  clerk,  Charles  Ruggles; 
Reginald  Gray,  Muriel's  father,  Frazer  Coulter; 
Mrs.  Dennis,  John's  mother,  Marie  Burke; 
Jeremiah  Wiggins,  captain  of  yacht,  Charles 
Riegal. 

^-"^"FOG  BOUND  "—Paramount— Story  by 
Jack  Bechdolt.  Scenario  by  Paul  Dickey. 
Director,  Irvin  Willat.  Photography  by 
Henry  Cronjager.  The  cast:  Gale  Brenon, 
Dorothy  Dal  ton;  Roger  Wainwrighl,  David 
Powell;  Mildred  Van  Bur  en,  Martha  Mansfield; 
Deputy  Brown,  Maurice  Costello;  Sheriff 
Holmes,  Jack  Richardson;  Mammy,  Mrs.  Ella 
Miller;  Deputy  Kane,  Willard  Cooley;  Gordon 
Phillips,  William  David;  Revenue  Officer 
Brenon,  Warren  Cook. 

"MICHAEL    O'HALLORAN"  — W.    W. 

Hodkinson — From  the  novel  of  the  same  name 
by  Gene  Stratton-Porter.  Director,  James  Leo 
Meehan.  Photography  by  Floyd  Jackson.  The 
cast:  Michael  O'Halloran,  True  Boardman; 
Peaches,  Ethelyn  Irving;  Nellie  Minium,  Irene 
Rich;  James  Minium,  Charles  Clary;  Nancy 
Harding,  Claire  McDowell;  Peter  Harding, 
Charles  Hill  Mailes;  Leslie  Winlon,  Josie 
Sedgwick;  Douglas  Bruce,  William  Boyd. 

"ONLY  38" — Paramount — From  the  play 
of  the  same  name  by  A.  E.  Thomas.  Based  on 
an  original  story  by  Walter  Prichard  Eaton. 
Scenario  by  Clara  Beranger;  Director,  William 
de  Mille.  Photography  by  Guy  Wilky.  The 
cast:  Lucy  Stanley,  a  college  girl,  May  McAvoy; 
Mrs.  Stanley,  her  mother,  I^ois  Wilson;  Profes- 
sor Charles  Giddings,  Elliott  Dexter;  Hiram 
Sanborn,  Mrs.  Stanley' s father ,  George  Fawcett; 
Bob  Stanley,  Lucy's  twin  -brother,  Robert 
Agnew;  Mrs.  Newcomb,  Jane  Keckley;  Mrs. 
Peters,  Lillian  Leigh  ton;  Sydney  Johnson,  a 
college  student,  Taylor  Graves;  Mary  Hcdley, 
Ann  Cornwall. 


I 


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n6 


Photoplay  Magazine — Advertising  Section 


For  digestion 


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Questions  and  Answers 

[  CONTINUED  FROM  PAGE  105  ] 

K.  S.,  Beardstown,  III. — You  have  a  fad 
for  learning  the  height  of  people?  An  interest- 
ing subject,  Miss  S.  Have  you,  while  pur- 
suing the  fad,  heard  the  theory  that  persons 
of  short  stature  live  longer  than  tall  persons? 
Some  scientists  have  seriously  made  the  claim. 
They  allege  that  the  short  person  receives  the 
electrical  currents  of  the  earth  with  greater 
force.  In  other  words  the  force  of  these  cur- 
rents is  more  concentrated  in  the  short  person. 
"They  say"  that  the  force  is  more  diffused, — 
scattered  through  the  extra  inches  of  the  per- 
son of  high  stature.  In  the  light  of  this  theory 
you  will  be  especially  interested  in  the  height 
of  photoplayers  about  whom  you  inquire. 
Leatrice  Joy's  height  is  five  feet  three  inches. 
Was  it  Shakespeare  who  wanted  his  love  to  be 
"as  high  as  his  heart"?  Miss  Joy  would  con- 
form to  this  whimsical  demand  on  the  part  of 
some  of  our  tallest  actors.  Agnes  Ayres  is 
five  feet  six  inches  tall.  Elsie  Ferguson's 
height  is  five  feet  six  inches.  That  of  Con- 
stance Talmadge  is  five  feet  five  inches.  Lois 
Wilson  tops  Miss  Talmadge  by  the  slight 
matter  of  haif  an  inch.  Thomas  Meighan 
measures  six  feet.  In  his  socks?  I  believe 
this  to  be  the  "socking"  truth. 

Florence  Dare,  1222  King  St.,  Mil- 
waukee, Wise. — No,  Florence,  I  will  not 
"pull  the  ancient  stuff  about  the  wet  and  dry 
question,"  since  you  wish  that  I  would  not. 
I  suppose,  as  you  say,  these  aged  jests  do 
fatigue  you.  To  quote  you,  "getting  down  to 
business,"  Gloria  Swanson's  child  is  two  years 
old.     Thomas  Meighan  has  no  children. 

Peggy  H.,  Toronto,  Ontario. — Others  do 
not  answer  your  queries?  Shame  upon  them ! 
I  will  if  only  because  your  name  and  address 
engage  my  interest.  "Peggy  H.  of  Toronto" 
summons  a  vision  of  a  large  eyed  Canadian 
miss  with  clear  white  skin,  and  cheeks  that 
hold  the  red  of  June  apples.  There  are  names 
that  attract  and  names  that  repel.  Yours 
attracts.  So  here's  your  answer.  Nita  Naldi's 
usual  address  is  in  New  York  City.  Last 
winter  there  was  much  agitation  in  the  hearts 
of  New  York  movie  maids.  For  Nita  Naldi's 
beautiful  apartments  had  been  entered  by  a 
burglar.  He  was  a  big,  mysterious,  good 
looking  chap  whom  the  press  hailed  as  "The 
Matinee  Burglar"  because  he  operated  at  the 
hours  when  the  owners  of  the  luxurious  apart- 
ments were  presumed  to  be  attending  matinees 
or  at  least  shopping.  The  burglar  had  a  short 
day.  He  began  work  at  two  o'clock  and 
finished  at  five.  He  is  paying  the  penalty  of 
his  thefts  at  Elmira  Reformatory.  The  apart- 
ment was  a  transient  address.  Her  permanent 
one  is  care  of  Famous  Players,  485  Fifth 
Avenue,  New  York  City.  Yes,  I  think  Miss 
Naldi  would  oblige  with  her  photograph  by 
the  arrangement  you  suggest. 

E.  L.,  Elizabeth,  Ohio. — You  think 
Thomas  Meighan  is  "  the  nicest  man  you  could 
ever  lay  eyes  on  and  that  his  wife  must  be  very 
proud  of  him."  No  doubt  she  is.  No,  Mrs. 
Meighan,  whose  professional  name  is  the  same 
as  her  maiden  one,  Frances  Ring,  did  not 
appear  in  "The  Man  Who  Saw  Tomorrow." 
You  wonder  whether  he  will  reward  your  ad- 
miration for  him  by  sending  you  his  photo- 
graph. Write  him  as  prettily  as  you  did  me. 
He  is  thirty-six  years  old.  The  pair  have  no 
children. 

Babe  McC,  Cincinnati,  Ohio. — Yes,  Miss 
Babe,  Richard  Barthelmess,  to  whom  you 
elect  to  make  affectionate  allusion  as  "Dick," 
is  married.  Much  married,  I  should  say, 
for  the  stories  of  his  devotion  to  his  lovely 
young  wife  are  touching  and  beautiful.  He 
married  Miss  Mary  Hay,  a  musical  comedy 
actress,  and  next  season  to  be  a  comedy  star. 
Mr.  Barthelmess's  height  is  five  feet  seven 
inches.  [  continued  on  page  127  ] 

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[  CONTINUED  FROM  PAGE  5  2  ] 

Broadway  at  a  salary  of  $1,000.00  a  week. 
Fourteen  years  before  he  had  worked  for  Mr. 
Fox  as  publicity  man  at  a  salary  of  fifty  dollars 
per  week.  His  success  with  these  pictures 
caused  D.  W.  Griffith  to  engage  for  special 
exploitation  work  in  connection  with  the  show- 
ing of  "Dream  Street"  in  Chicago  and  New 
York. 

During  the  run  of  the  picture  he  succeeded 
in  having  the  names  of  Michigan  Boulevard  in 
Chicago,  Forty-third  Street  in  New  York  and 
Fulton  Street  in  Brooklyn  temporarily  changed 
to  "Dream  Street." 

The  star  publicist  has  not  confined  his  ex- 
ploitation skill  to  motion  pictures.  He  was 
engaged  by  the  publishers  of  "Three  Weeks" 
to  stimulate  the  sale  of  the  Elinor  Glyn  book. 
He  did  this  by  sending  10,000  letters  of  protest 
to  the  postmaster  general,  with  the  result  that 
the  book  was  barred  from  the  mails — making 
it  a  best-seller. 

Hired  years  ago  at  twenty-five  dollars  a 
week  to  promote  the  sale  of  reproductions  of 
a  painting,  he  had  the  original  placed  on  dis- 
play in  a  Fifth  Avenue  window  and  hired 
young  girls  to  stand  staring  at  it  until  the 
police  and  indignant  reformers  drove  them 
away. 

He  escorted  the  late  Anthony  Comstock, 
leader  of  the  reformers,  around  to  view  the 
painting  and  to  have  it  condemned.  And 
that's  the  way  "September  Morn"  became 
one  of  the  most  famous  pictures  in  the  world. 
The  publishers  sold  9,000,000  prints  of  it. 

Retained  by  the  producers  of  a  film  version 
of  "Trilby,"  he  planted  a  woman  in  a  theater 
where  the  picture  was  showing.  When  the 
watchman  opened  the  doors  the  next  morning 
he  found  the  woman  apparently  in  a  trance, 
as  if  hypnotized. 

Instantly  various  journals  raised  the  ques- 
tion as  to  whether  or  not  a  person  can  be 
hypnotized  by  a  hypnotist  working  on  the 
screen,  and  as  a  result  "Trilby"  came  in  for  a 
wide  share  of  publicity. 

SO  famous  has  Reichenbach  become  for  his 
feats  that  the  police  are  liable  to  summon 
him  whenever  any  stunt  is  scented.  The  dis- 
trict attorney  of  New  York  not  long  ago  sum- 
moned him  to  explain  what  he  knew  about  a 
woman  who  hadn't  committed  suicide  in  a  lake 
in  Central  Park.  Various  pieces  of  wearing  ap- 
parel had  been  left  on  the  water's  edge  and 
there  was  other  evidence  of  the  lady's  inten- 
tion to  immerse  herself.  Reichenbach  was 
not  guilty  of  the  publicity  stunt  in  this  case, 
explaining  in  court  that  it  was  not  done  in  his 
style.  He  referred  to  his  plan  for  having  Clara 
Kimball  Young  kidnapped  by  Mexicans  and 
held  for  heavy  ransom  until  rescued  by  eight 
blond  cavalrymen. 

"Now  that,"  said  the  accused,  "was  a  real 
stunt!" 

He  declared  that  he  had  received  assurance 
of  President  Wilson's  sanction,  and  displayed 
a  letter  on  White  House  stationery  signed  by 
J.  P.  Tumulty  stating  that  the  matter  would 
be  taken  up. 

Miss  Young  knew  nothing  about  the  plans, 
and  never  did  know,  since  the  border  episode, 
for  some  reason,  was  never  enacted. 

During  the  war  Reichenbach  went  abroad 
for  the  Creel  Publicity  Bureau,  established  by 
the  government,  and  he  press-agented  President 
Wilson  throughout  Italy  until  the  Italians  were 
ready  to  accept  him  as  the  greatest  living 
statesman. 

As  successful  with  presidents  as  with  fat 
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Reichenbach  is  recognized  everywhere  as  a 
man  of  peculiar  talent  who  has  made  publicity 
a  practical  art. 

"Why  shouldn't  he  be  worth  a  star's  sal- 
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in  as  much  money  as  a  star?" 


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doubts  about  what  I  have  told,  you,  you  had 
better  leave  me  right  now."  She  turned  and 
faced  him,  cool-eyed,  disdainful. 

Lloyd,  always  the  weaker  of  the  two,  gave 
in  at  once,  or  at  least  made  a  show  of  giving  in. 

"People  are  bound  to  talk  about  a  thing  like 
that,"  he  grumbled,  "no  matter  how  innocent 
you  are." 

"  You  won't,  I'm  sure.  And  if,  as  you 
hinted,  anyone  did  see  Mr.  Romain  go  into  my 
room,  I  consider  it  your  duty,  as  a  friend,  to 
go  to  them  at  once — now — and  tell  them  to 
keep  quiet.  You  say  you  care  for  me.  If  you 
do,  I  shouldn't  think  you'd  want  to  have 
people  saying  nasty  things  about  me.  So 
please  find  a  taxicab  as  quickly  as  you  can, 
drop  me  at  the  hotel,  and  then  hunt  up  this 
person  you  speak  of  and  tell  him — or  her, 
whichever  it  may  be — not  to  do  any  talking. 
I  think  you  owe  that  to  me." 

"Very  well,"  Arthur  said  sullenly,  and 
stepping  to  the  curb  signalled  a  passing  taxi. 

CHAPTER  XIX 

ARTHUR  LLOYD,  after  dropping  Joy  at 
the  hotel,  did  not  hunt  up  any  hypothetical 
employee  of  the  Royal  company.  Instead,  he 
went  straight  to  the  source  of  his  information, 
Helen  Kramer. 

By  what  devious  methods  that  astonishing 
woman  had  learned  of  Romain's  visit  to  Joy's 
dressing  room  he  did  not  know ;  he  had  reached 
the  hotel  about  half-past  five  that  afternoon, 
and,  learning  that  Joy  had  not  come  in,  had 
gone  at  once  to  his  room. 

While  dressing  he  had  received  a  telephone 
message  from  Mrs.  Kramer,  saying  that 
Romain  and  Joy  were  together  in  the  latter's 
dressing  room  at  the  studio,  and  suggested 
that  he,  Arthur,  hurry  over  to  the  Royal  lot 
and  investigate.     He  had  gone  at  once. 

Helen  Kramer,  while  pretending  a  great  de- 
sire to  protect  Joy,  in  reality  felt  no  such  desire 
at  all.  But  neither  did  she  propose  to  allow 
the  girl  to  carry  on  an  affair  with  the  man  she 
secretly  loved.  There  had  been  a  double  pur- 
pose in  her  message  to  Arthur.  The  first  was 
to  put  a  stop  to  whatever  might  be  going  on 
between  Joy  and  Romain.  The  second  was  to 
inflame  Arthur's  jealousy  to  such  a  point  that 
he  would  be  eager  to  undertake  the  task  she 
had  laid  out  for  him.  If  she  did  not  succeed 
in  the  first  purpose,  she  certainly  did  in  the 
second.  Arthur  had  dashed  off  to  the  Royal 
lot  the  moment  he  finished  dressing.  As  his 
cab  drew  up,  he  saw  Romain  just  leaving  the 
building.  This  made  verification  of  Mrs. 
Kramer's  story  impossible.  When,  a  little 
later,  Joy  appeared,  he  had  bluffed,  had  as- 
sumed the  story  to  be  true,  with  the  result  that 
he  had  received  the  confirmation  he  desired 
from  her  own  lips. 

Now  he  felt  it  was  necessary  to  talk  the 
whole  matter  over  with  Mrs.  Kramer.  Arthur 
was  one  of  those  persons  who  are  forever  want- 
ing to  talk  things  over.  He  found  the  Kramers 
just  sitting  down  to  dinner,  and  impatient  for 
an  interview  with  Helen  as  he  was,  he  could 
not  refuse  an  invitation  to  join  them. 

Luckily  the  dinner  was  rather  hurried,  owing 
to  an  engagement  Mr.  Kramer  had  with  Mr. 
Davidson  for  a  conference  over  some  sets. 
At  least,  that  was  the  reason  he  gave;  his  wife 
eyed  him  humorously  and  said  she  hoped  his 
new  flame  did  not  use  perfume.  It  was  a  dig — 
an  allusion  to  a  previous  evening,  when  Mr. 
Kramer,  supposedly  at  a  poker  party,  had 
come  home  very  late,  reeking  with  Mary  Gar- 
en  perfume.    He  winked  at  Lloyd,  and  laugh- 

gly  explained  for  the  tenth  time  that  the 

ife  of  the  man  at  whose  house  the  poker 
party  was  held  had  poured  the  perfume  on 
him  as  a  joke.  The  explanation  happened  to 
be  true,  but  Mrs.  Kramer  was  too  devious  her- 
self to  believe  anything  so  obvious.  It  pleased 
her,  with  her  own  plans  in  mind,  to  picture 
poor  Steve  as  a  veritable  devil  with  the  ladies. 


Possibly  it  served  to  soothe  an  uneasy  con- 
science. 

Steve  Kramer  rose  from  the  table,  lit  a  cigar. 

"You'll  excuse  my  running  away,  Lloyd, 
won't  you,"  he  said.  "Talk  to  the  wife. 
She's  nervous.  And,  my  boy,  don't  ever  get 
married.  It's  just  the  same  old  face  and  a 
different  pair  of  eggs  at  breakfast  every  morn- 
ing.   Keep  off  the  grass."    He  dashed  out. 

When  Lloyd  and  Helen  Kramer  were  at  last 
alone,  he  explained  what  had  happened  at  once. 

"I  got  to  the  Royal  fifteen  minutes  after 
you  called  me  up,"  he  said  nervously.  "  Ro- 
main was  just  coming  out.  He  couldn't  have 
been  in  the  room  long.  Joy  came  along  a  little 
later.  Alone.  I  accused  her  and  she  admitted 
it,  but  said  there  was  nothing  wrong.  How 
did  you  know  he  was  in  there  with  her?" 

Mrs.  Kramer  smiled  her  lazy,  enigmatical 
smile. 

"I  have  ways  of  finding  things  out,"  she 
said.  "As  a  matter  of  fact,  I  was  at  the  studio 
myself,  this  afternoon.  I  wanted  to  see  Joy 
do  that  dance.  She  certainly  made  a  hit — 
especially  with  Romain.  He  couldn't  take  his 
eyes  off  her.  And  she  played  to  him,  too. 
Purposely.  Shamelessly.  I  don't  mean  to  say 
anything  unkind,  Mr.  Lloyd,  but  it  looks  to 
me  that  if  you  ever  expect  to  marry  Joy 
Moran,  the  sooner  you  take  steps  to  break  up 
this  affair  with  Romain  the  better." 

"I'm  ready!"  Arthur  exclaimed  savagely. 
"I'd  like  to  knock  his  damned  block  off." 

"That  wouldn't  do  you  any  good.  Harm, 
more  likely.  The  only  result  would  be  a  lot  of 
unpleasant  talk,  and  Joy  would  go  to  him 
through  sympathy.  You  know  that.  But  the 
other  way  I  spoke  of  is  certain." 

"Then  why  don't  you  tell  me  about  it?  Let 
me  know  the  name  of  this  fellow  you  saw  going 
into  Romain's  house  that  night.  You  said 
you'd  tell  me,  whenever  I  was  ready  to  act. 
Well — I'm  ready  now!" 

"Good.  I  will  tell  you.  His  name  is  Ray 
Porter." 

"In  pictures?" 

"  "NJO.  He  lives  in  Los  Angeles.  I'll  give  you 
•*-^  his  address  before  you  go.  His  father  is  a 
wealthy  real  estate  operator.  Has  made  a  lot 
of  money,  which  he  foolishly  allows  his  son  to 
spend.  He's  one  of  those  worthless  fellows — 
college  graduate — good  spender — you  know  the 
type — about  twenty-five,  plays  at  being  a  stock 
broker  but  in  reality  concentrates  on  women, 
whiskey,  and,  I  hear,  dope.  Now  what  I  want 
you  to  do  is  to  see  him.  Tell  him  he  was  seen 
going  into  Romain's  house  that  night.  Threaten 
that  if  he  doesn't  confess  what  really  happened, 
when  Mrs.  Romain  was  killed,  I  will  take  my 
story  to  the  police.  Don't  use  my  name,  of 
course.  I  have  an  idea  that  suggestion  about 
the  police  will  bring  him  to  time.  As  an  al- 
ternative, promise  him  that  if  he  will  tell  the 
truth,  you  guarantee  not  to  make  any  public 
use  of  it.  It  won't  be  brought  up  in  court. 
All  we  want  to  do  is  to  get  the  goods  on  Ro- 
main— privately.  That  ought  to  make  a  hit 
with  him.  He  will  be  afraid  of  publicity,  be- 
cause his  father  would  probably  cut  off  hi- 
allowance — make  him  go  to  work.  A  generous 
old  duffer,  I  hear,  but  religious.  Thinks  alco- 
hol has  something  to  do  with  the  Bible.  So  I 
feel  pretty  sure  you  can  get  the  truth  out  of 
him,  if  you  convince  him  that  we  have  no  in- 
tention of  making  it  public,  letting  it  get  into 
the  newspapers.  Why  not  see  him  tonight? 
The  sooner  the  better.  You  can  drive  up  in 
my  car  if  you  like.  It's  right  out  front,  and 
I  sha'n't  be  using  it  until  tomorrow.  When 
you  get  the  truth  from  him,  bring  it  back  to 
me.  Make  him  write  out  a  confession,  and 
have  it  sworn  to  before  a  notary." 

"He'd  never  do  it." 

"Why  not?  The  notary  doesn't  have  to 
know  what's  in  the  confession.  All  Porter  will 
have  to  do  is  to  swear  that  it  is  true.  If  it 
isn't  sworn  to,  he  might  repudiate  it.     Once 


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we  get  his  name,  duly  attested,  at  the  bottom 
of  the  thing,  we've  got  Romain.  And  we 
haven't  any  time  to  lose,  Mr.  Arthur  Lloyd. 
Don't  forget  that.  Now  I  think  you  had  better 
go."    She  scribbled  an  address  on  a  card. 

"I'm  ready,"  Lloyd  said,  rising. 

"Good.  It's  after  nine.  You  can  be  in  Los 
Angeles  in  half  an  hour.  Look  him  up.  In- 
quire at  his  hotel — -his  club — they'll  know 
where  to  locate  him,  I  guess.  Force  him  to 
tell  you  the  truth.    I'm  depending  on  you." 

Lloyd  followed  her  into  the  hall.  A  bitter 
hatred  blazed  in  his  eyes. 

"I'll  find  him,"  he  said.     "Don't  worry." 

"Fine,"  Mrs.  Kramer  said.  "I  like  a  man 
who  does  things,  instead  of  just  talking  about 
them.  Bring  me  Porter's  confession  tomorrow, 
and  we'll  have  Mr.  Romain  where  we  want 
him.    By  the  way,  have  you  got  any  liquor?" 

"No,"  Arthur  said.  "But  I  think  I  know 
where  I  can  get  some." 

"Wait  a  moment."  She  disappeared  for 
awhile,  and  presently  returned  with  two  pint 
bottles.  "Some  of  Steve's  private  stock.  I 
hope  he  doesn't  miss  it.  Anybody  with  a  pint 
or  two  can  make  friends  with  Ray  Porter. 
You  couldn't  have  a  better  recommendation." 

Arthur  thrust  the  bottles  of  whiskey  into  his 
hip  pockets.  The  bulges  they  made  were 
hidden  by  his  light  overcoat. 

"I'll  let  you  hear  from  me  later,"  he  said, 
jamming  on  his  hat. 

"That's  my  car,"  Mrs.  Kramer  called  after 
him  as  he  went  down  the  walk.  "The  brown 
roadster.    Bring  it  back  in  the  morning." 

Lloyd  scarcely  heard  her,  in  his  eagerness  to 
get  away. 

CHAPTER  XX 

TTHE  finding  of  Mr.  Ray  Porter  did  not 
*■  prove  so  difficult  a  task  as  Arthur  had 
thought  it  might  be.  The  trail  led  from  the 
address  Mrs.  Kramer  had  given  him — a  down- 
town bachelor  hotel — to  a  club,  the  name  of 
which  he  secured  from  the  hotel  clerk  by  the 
"simple  device  of  representing  himself  as  one  of 
Porter's  oldest  friends,  just  arrived  from  New 
York  and  anxious  to  see  him. 

The  clerk  thought  he  might  possibly  be  at 
the  club,  but  suggested  that,  if  he  were  not, 
the  doorman  might  give  him  some  information 
in  exchange  for  a  five  dollar  bill. 

The  results  were  eminently  satisfactory. 
Mr.  Porter,  so  the  man  said,  was  at  the 
theater.  He  had  secured  the  ticket  for  him, 
himself,  and  gave  Arthur  the  name  of  the 
show,  a  musical  review,  to  which  he  had  gone, 
alone.  It  was  half-past  ten;  .there  was  no  time 
to  be  lost.    Arthur  figured  it  out  to  his  own 


satisfaction  that  Porter  was  in  all  probability 
running  after  one  of  the  women  in  the  show. 
He  had  a  penchant,  it  seemed,  for  actresses, 
and  this  particular  play  depended  for  its  suc- 
cess on  two  things,  the  tunefulness  of  its  music 
and  the  physical  charms  of  its  girls.  And,  as 
luck  would  have  it,  Arthur  was  very  well  ac- 
quainted with  Ned  Forrest,  the  leading  com- 
edian in  the  piece.  Leaving  his  car  at  the 
stage  entrance  he  hurried  behind  the  scenes. 

It  was  the  work  of  but  a  moment  to  locate 
his  friend's  dressing  room.  The  second  act, 
which  was  also  the  last,  was  nearing  its 
climax.  Forrest,  preparing  for  the  finale,  was 
making  a  quick  change.  He  gave  Arthur  a 
nod. 

"What  the  devil  are  you  doing  here?"  he 
laughed. 

"Say,  Ned — I've  got  a  favor  to  ask  of  you. 
There's  a  fellow  here  in  town  named  Porter. 
Ray  Porter.  I'm  trying  to  locate  him.  I've 
never  met  the  chap — -never  even  seen  him — 
but  I  have  an  idea  he  may  be  playing  around 
with  one  of  the  girls  in  the  show.    Know  him?" 

"  Rather.  Not  a  bad  scout,  either,  although 
a  good  deal  of  a  dumbbell.  Face  like  a  vacant 
lot.  But  he's  got  some  really  good  Scotch, 
which  helps  out  a  bit.  Nuts  about  one  of  our 
show  girls — Elsie  Devonne.  She's  a  rotten 
little  gold-digger,  if  there  ever  was  one,  but 
smooth — Oh  boy!  Hooked  him  for  a  diamond 
bracelet  yesterday,  I  hear,  that  couldn't  have 
cost  less  than  five  hundred  smackers,  and  she's 
only  just  begun." 

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"Is  that  so?  Well,  I  want  to  meet  him. 
Can  you  fix  it?" 

"Sure.  Just  stick  around  until  after  the  cur- 
tain and  I'll  introduce  you  to  Elsie.  She'll 
arrange  matters — if  she  doesn't  think  you're 
out  to  spoil  her  game.  Not  trying  to  rescue 
this  bimbo  or  anything  like  that,  are  you?" 

"No.    Just  got  a  little  business  with  him." 

" Fine.     Anything  on  the  hip?" 

I.loyd  turned  back  his  coat. 

"Quart  of  rye.     Old  private  stock." 

"Good  boy!  When  Elsie  lamps  that,  she'll 
kiss  you.  There's  my  cue.  See  you  later." 
He  dashed  out  as  the  orchestra  began  the 
opening  bars  of  the  finale. 

Arthur  lit  a  cigarette  and  sat  thinking  of  the 
task  before  him  until  the  rush  of  feet  in  the 
corridor  told  him  the  curtain  was  down. 
Forrest  came  in,  panting  from  his  vocal  and 
acrobatic  exertions. 

"A  drink — a  drink — me  kingdom  for  a 
drink!"  he  declaimed  with  mock  heroics,  and 
taking  a  tumbler  from  the  wash  stand  poured 
two  inches  of  liquor  into  it.  "First  today. 
Here's  how." 

Lloyd  followed  him,  but  his  drink  was  a 
very  small  one.  Then  they  set  off  down  the 
corridor. 

"Devonne's  in  nine,  with  Dulcey  Harring- 
ton. I'm  rather  keen  on  Dulcey.  We  might 
make  up  a  little  party."  He  knocked  on  the 
dressing  room  door. 

"Who's  there?"  came  a  shrill  voice. 

"It's  me — Ned." 

"Oh."  The  door  opened,  disclosing  three 
girls,  two  of  them  in  various  stages  of  undress. 
All  three  had  slimly  beautiful  legs  and  bodies, 
and  were  pertly  and  somewhat  commonly 
beautiful. 

"Hello,  girls,"  Forrest  said.  "Meet  my 
friend,  Arthur  Lloyd." 

rPHE  sirens  looked  Arthur  over.  Their  ex- 
-*-  pressions  did  not  brighten.  With  unerring 
instinct  they  knew  that  he  was  one  of  the 
profession,  and  therefore  not  likely  to  prove 
profitable  game. 

"  He's  got  something  on  the  hip — both  hips," 
Forrest  went  on. 

The  girls  manifested  a  keener  interest. 

"That'll  help  some,"  Miss  Devonne  an- 
nounced.   "What's  on  your  mind,  Ned?" 

"Why — I  thought  we  might  all  go  some- 
where and  drink  it." 

Miss  Devonne  shook  her  head. 

"I've  got  a  date,"  she  said. 

"That's  all  right,  if  May  and  Dulcey 
haven't.  How  about  it,  Miss  Burke?"  He 
turned  to  the  third  girl,  a  tall  and  striking 
brunette.  She  glanced  lazily  at  her  wrist 
watch. 

"Oh — I'll  trail  along  for  awhile.  Got  to 
meet  the  meal-ticket  at  one.  He's  coming  in 
from  'Frisco." 

"That's  all  right,"  Arthur  said.  "A  quart 
won't  last  that  long."  The  arrangement  suited 
him  exactly.  "See  you  all  later."  He  went 
back  with  Forrest  to  his  dressing  room. 

When,  twenty  minutes  later,  the  chattering 
group  passed  through  the  stage  entrance,  Miss 
Devonne  was  greeted  by  a  young  fellow  in  a 
Tuxedo  whom  Arthur  at  once  decided  to  be 
Porter.  He  studied  the  man  as  he  stood  talk- 
ing to  Elsie,  discussing  the  details  of  the  pro- 
posed party.  Red-faced  with  haggard,  tired 
eyes  and  a  heavy,  drooping  under  lip,  he  was 
clearly  a  man  who  loved  the  coarser,  more 
garish  side  of  life.  Finer  things  would  bore 
him.  Women  he  looked  on  as  playthings, 
creatures  of  his  amusemen*.  The  price  he 
paid  them  did  not  bother  him,  so  long  as  his 
father's  purse  remained  open. 

Miss  Devonne  turned. 

"Meet  Mr.  Lloyd,  Ray,"  she  said.  "He's  a 
friend  of  Ned's.     You  know  all  the  others." 

"He's  got  a  quart  of  wood  alcohol  he  wants 
us  to  try,"  Forrest  said.  "How  about  going 
over  to  the  hotel?" 

"Nothing  doing."  Mr.  Porter  shook  his 
head.  "Too  many  people  around  who'd  be 
only  too  glad  to  get  me  in  Dutch  with  the  old 
man.    This  isn't  New  York,  you  know.    Why 


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I  2  I 


not  go  over  to  my  apartment.  I've  got  'em 
fixed,  there.  The  night  clerk's  a  good  guy. 
I  keep  him  supplied  with  hootch,  and  he  keeps 
his  mouth  shut.  Anything  goes,  up  to  murder. 
And  in  case  Mr.  Lloyd's  supply  runs  out,  as 
it's  likely  to  do  in  about  ten  minutes,  why — 
I've  got  a  case  of  Scotch,  and  any  amount  of 
gin,  to  keep  us  going." 

Forrest  turned  to  look  for  a  taxi  but  Arthur 
stopped  him. 

"I've  got  a  car  here  will  take  two,  besides 
myself,  if  you  don't  mind  crowding,"  he  an- 
nounced. 

"The  rest  can  ride  with  me,"  Porter  said. 
"Let's  go." 

They  piled  in  with  much  laughter,  Forrest 
in  Arthur's  roadster  with  Dulcey  Harrington 
on  his  lap.  Mr.  Porter' led  the  way;  in  fifteen 
minutes  they  were  entering  his  suite. 

It  consisted  of  a  good-sized  living  room,  with 
bedroom,  bath  and  tiny  kitchenette  adjoining, 
the  latter  being  used  entirely  as  a  place  in 
which  to  store  and  serve  drinks.  Before  the 
girls  had  taken  off  their  wraps,  glasses  were 
being  passed  around,  and  a  few  moments  later 
the  first  of  Arthur's  bottles  was  tossed  into  the 
wastebasket,  empty. 

LLOYD,  with  knowledge  of  what  lay  ahead  of 
him,  drank  sparingly,  pouring  out  micro- 
scopic drinks.  For  some  time  he  managed  to 
conceal  the  fact,  but  Miss  Burke  finally  de- 
tected it,  and  turned  up  her  charming  nose. 

"What's  the  idea?"  she  jibed.  "Trying  to 
reduce?  " 

"I  never  like  to  pass  out,"  Arthur  returned 
"  before  the  party  gets  good." 

"Well,  don't  let  that  worry  you,  dearie. 
I'm  due  to  pass  out,  myself,  in  about  twenty 
minutes,  so  if  you  want  to  play  with  me  make 
it  snappy."  She  poured  out  two  large  drinks 
from  a  bottle  of  Scotch  Mr.  Porter  had  opened. 
"Try  some  of  this.  It's  good  for  what  ails 
you." 

Lloyd  tossed  off  the  drink,  vowing  it  should 
be  his  last.  The  others  were  already  beginning 
to  get  hilarious.  Forrest,  at  the  piano,  was 
singing  some  extravagantly  indecent  variations 
of  one  of  his  songs  in  the  show  which  sent  the 
rest  of  the  party  into  shrieks  of  laughter.  Elsie 
Devonne,  her  hat  tossed  into  a  corner,  reclined 
on  the  couch  with  her  arm  about  Porter's 
neck,  a  long  ivory  cigarette  holder  clutched  in 
her  fingers.  Miss  Harrington  hung  over  For- 
rest's shoulder  as  he  sang,  and  occasionally 
thrust  upon  him  a  fierce,  alcoholic  kiss.  It  was 
quite  apparent  that  the  two  understood  each 
other  thoroughly. 

At  half  past  twelve  Miss  Burke  put  on  her 
hat,  grasped  her  gold  mesh  bag,  dripping  with 
sables,  announced  her  intention  to  go. 

"Don't  bother  about  me,"  she  told  Arthur. 
"Stick  around.     I'll  just  jump  a  taxi." 

He  went  down  to  the  street  with  her,  put 
her  in  a  cab,  bade  her  a  brief  good-night. 
They  had  not  liked  each  other,  and  made  no 
pretense  of  doing  so.  When  Arthur  got  back 
to  the  apartment,  Forrest  and  Miss  Harrington 
were  demanding  food. 

"What  sort  of  a  dump  is  this?"  the  come 
dian  grumbled.  "Grill  closed  at  midnight. 
I've  got  to  eat." 

"Same  here,"  the  fair  Dulcey  announced. 
"It's  the  best  little  thing  I  do." 

"We  can  send  out,"  Porter  said,  ringing  for 
a  boy.  His  guests,  with  the  exception  of 
Arthur,  made  up  for  the  lack  of  food  by  open- 
ing another  bottle  of  Scotch. 

By  three  o'clock  the  room  was  a  wreck. 
Food,  empty  bottles,  half-filled  dishes  and 
plates  occupied  every  available  space.  The 
floor  was  covered  with  fragments  of  lobster 
shell,  cigarette  stumps,  ashes,  spots  of  mayon- 
naise, chicken  bones  and  fragments  of  celery. 
Miss  Harrington  and  Forrest,  who  had  ad- 
journed to  the  kitchenette  to  be  nearer  the 
source  of  supply,  stood  locked  in  what  seemed 
a  permanent  embrace.  But  Miss  Devonne's 
ardor  had  greatly  diminished.  A  gold-digger 
who  had  practised  on  experts,  it  was  no  part 
of  her  plan  to  give  Porter  the  payment  he 
expected  for  his  favors  of  the  past  few  days. 


&h$ 


of  arms,  legs,  back,  bust,  abdomen,  thighs,  hips  and  ankles  in  men  and  women 
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More  than  60,000  men  and  women  in  the  past  few  years  have  reduced  to  their  entire  satisfaction  by 
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You  can  reduce  your  FAT  whether  10  or  100  pounds  overweight.  If  at 
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DIRECTIONS 


SIMPLY 
I  PULL  OUT 
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When  Forrest  and  Miss  Harrington  declared 
themselves  ready  to  go,  she  insisted  on  leaving 
with  them,  although  Arthur,  rather  half- 
heartedly, offered  to  go  himself,  and  leave  her 
and  their  host  alone.  In  spite  of  Porter's  pro- 
tests, however,  she  was  adamant. 

"I'm  all  in,"  she  said.  "You  people  can  do 
as  you  please.  I'm  going  along  with  Ned  and 
Dulcey.  See  you  tomorrow,  Ray,  dear."  She 
gave  him  a  light  kiss  and  joined  the  others  at 
the  door. 

Porter  was  too  drunk  to  protest  very  strong- 
ly. When  Arthur  offered,  with  some  hesita- 
tion, to  remain  behind  for  a  nightcap,  he 
accepted  the  suggestion  at  once. 

"After  a  party  like  thish,"  he  said  thickly, 
"I — hie — get  the  willies,  if  I'm  alone.  Stick 
around,  old  sport." 

"All  right,"  Arthur  said,  throwing  down  his 
hat  and  coat.  "I've  got  nothing  to  do  till 
morning." 

"Have  a  drink."  Porter  took  up  a  bottle. 
"  Snap  you  out  of  it,  you  know.  Don't — hie — 
ask  me  to  wait  on  you,  old  chap.  Just  help 
yourself."  He  collapsed  into  a  chair,  spilling 
half  the  contents  of  his  glass  over  his  shirt 
front. 

Arthur  poured  out  a  spoonful,  drank  it  off 
with  his  back  turned. 

"Great  stuff,"  he  said,  smacking  his  lips. 
"Say,  old  fellow,  any  objection  to  parking  my- 
self here  on  the  couch  for  the  rest  of  the  night. 
Don't  think  I  can  make  the  grade,  to  the 
hotel." 

"Not  a  bit.  Help  yourself.  Guess  I'll  turn 
in,  too.  Got  to  be  at  the — hie — office  early — 
big  deal  on."  He  went  to  the  telephone  and 
instructed  the  night  clerk  to  call  him  at  nine 
o'clock.     Then  he  lurched  into  the  bedroom. 

Arthur,  entirely  satisfied  with  the  way  things 
had  gone,  took  off  his  coat  and  shoes  and  made 
himself  comfortable  on  the  couch.  There 
would  have  been  no  use,  he  realized,  in  broach- 
ing the  purpose  of  his  visit  tonight.  Porter  was 
too  far  gone  to  deal  with  any  subject,  coher- 
ently. But  in  the  morning,  when  the  inevit- 
able depression  had  asserted  itself,  when  his 
will  power  would  be  at  its  lowest,  his  mind  a 
prey  to  unknown  fears — then  would  be  the 
time  to  strike.  Within  half  an  hour  Lloyd  was 
fast  asleep. 

THE  insistent  ringing  of  the  telephone  bell 
aroused  him.  He  heard  a  clock  striking 
nine.  Answering  the  call  from  the  office,  he 
went  into  his  host's  bedroom  and  woke  him  up, 
in  spite  of  the  latter's  violent  protests. 

"You  told  me  to  call  you,"  Arthur  insisted. 
"Said  you  had  to  get  to  the  office.  And  be- 
sides, I  want  to  talk  to  you." 

Porter  sat  on  the  edge  of  the  bed,  a  melan- 
choly figure.  His  eyes  were  bloodshot,  his  face 
swollen  and  haggard,  he  coughed  incessantly 
from  the  effects  of  countless  cigarettes. 

"Say,"  he  announced  stupidly,  "let's  have 
a  drink." 

"Not  yet,"  Arthur  replied — "not  till  you've 
answered  me  a  few  questions." 

Porter  grumbled  an  angry  protest  but  Lloyd 
paid  no  attention  to  him. 

"There  are  some  things  I  want  you  to  tell 
me,"  he  said,  "about  the  death  of  Mrs.  Jean 
Romain!" 

The  blood  drained  from  Porter's  face,  leav- 
ing it  the  color  of  putty.  A  look  of  fear  crept 
into  his  eyes.  He  attempted,  unsuccessfully, 
to  rise. 

"Who  in  hell  are  you,  anyway?"  he  blus- 
tered.    "A  damned  detective?" 

"No.  I'm  not  a  detective.  I'm  an  actor. 
And  I  want  you  to  understand,  first  and  fore- 
most, Mr.  Porter,  that  I'm  not  trying  to  hurt 
you  in  any  way.  Romain's  the  man  I'm  after." 

"Romain!"  A  faint  color  returned  to  Por- 
ter's cheeks.     "That  damned  rotter!" 

Arthur  put  out  his  hand. 

"So  you've  got  it  in  for  him  too,  have  you? 
Shake."  This  was  better  than  he  had  ex- 
pected. The  suspicion  in  Porter's  eyes,  how- 
ever, remained.  He  was  wary,  on  the  de- 
fensive. 

"What's  the  big  idea?"  he  asked.     "How 


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I  2 


should  I  know  anything  about  Mrs.  Romain's 
death?" 

"There's  a  woman  down  in  Hollywood  who 
saw  you,  that  night,  when  you  entered  the 
house." 

"It's  a  lie.  If  she  saw  me,  why  didn't  she 
say  something  to  the  police,  at  the  time?" 

"  I  don't  know.  She's  a  queer  person.  But 
she  saw  you,  all  right." 

"That's  what  she  says.  What  have  you  got 
to  do  with  it?" 

"I'll  tell  you.  I'm  in  love  with  a  girl  who's 
doing  a  picture  with  Romain.  He's  engaged, 
you  know — to  Margot  Gresham.  After  her 
money,  I  guess.  But  just  the  same  he's  mak- 
ing a  play  for  my  girl,  and  I  want  to  stop  it. 
So  does  this  woman  who  saw  you  go  into  the 
house  that  night.  Now  there  are  two  ways  to 
handle  the  matter,  and  it's  up  to  you  to  choose 
which  of  the  two  we  use.  One  is  for  you  to 
give  me  a  complete  statement  of  what  hap- 
pened that  night — in  writing.  The  other  is  for 
this  woman  to  give  her  story  to  the  police. 
Which  do  you  prefer?" 

"T  DON'T  see  any  choice — granting  for  the 

*-  sake  of  argument  that  I  know  anything 
about  it,  which  I  refuse  to  admit." 

"There  is  a  choice,  just  the  same.  If  you 
give  me  a  statement  of  what  happened,  I'll 
promise,  on  my  word  of  honor,  not  to  make  it 
public.  All  we've  got  to  do  is  wave  that  paper 
under  Romain's  nose  and  he'll  do  anything  we 
say." 

"Well?" 

"Well — on  the  other  hand,  if  this  woman 
down  in  Hollywood  takes  her  story  to  the 
police,  you'll  be  in  jail  before  night.    Get  me?  " 

Porter  shivered,  snatched  up  a  cigarette. 

"The  hell  you  say!"  he  muttered. 

"That's  about  the  size  of  it,"  Arthur  went 
on.  "I'm  not'  trying  to  blackmail  Ro- 
main, or  anything  like  that.  All  I  want  to  do 
is  make  him  let  my  girl  alone.  You  know  very 
well  he  can't  afford  to  have  this  thing  made 
public,  any  more  than  you  can.  It  would  kill 
him,  in  the  film  game,  and  probably  break  up 
his  marriage  to  Miss  Gresham.  Her  old  man's 
only  waiting  for  an  excuse." 

Ray  Porter  rubbed  his  weak  chin. 

"Sounds  all  right,"  he  admitted. 

"It  is  all  right.  Now  suppose  you  refuse  to 
tell  me  what  you  know.  This  woman  in  Holly- 
wood will  go  to  the  police  with  her  story  at 
once.  Then  where  will  you  be?  "  He  took  out 
his  watch.  "Look  here,  Porter — I'm  in  a 
hurry.  Got  to  get  back  at  once.  You  sit  down 
and  write  out  that  confession  now — and  make 
it  snappy.  Because  if  you  don't,  this  woman 
I  told  you  about  will  have  you  arrested  before 
night,  as  sure  as  your  name's  Porter!"  He 
went  into  the  living  room,  cleared  the  bottles, 
dishes  and  other  debris  from  the  desk,  ar- 
ranged paper  and  pen.  Porter,  who  had  tot- 
tered into  the  room  after  him,  watched  with 
terrified  eyes. 

"For  God's  sake,"  he  whimpered,  "gimme 
a  drink!     I'm  dying." 

Arthur  poured  some  Scotch  into  a  glass. 

"Just  one,"  he  said.  "Then  you  sit  down 
here  and  write." 

For  half  an  hour  Lloyd  smoked  in  silence, 
while  his  companion,  with  many  groans, 
curses,  demands  for  whiskey,  scrawled  feebly 
over  sheet  after  sheet  of  paper.  When  the  task 
was  finally  done,  hs  threw  down  his  pen  and 
rose. 

"Now,  damn  you!"  he  said,  "give  me  that 
bottle!" 

"Just  a  moment,"  Lloyd  said,  snatching  up 
the  paper.     "I've  got  to  read  it,  first." 

When  he  had  finished,  his  eyes  were  spark- 
ling. 

"One  thing  more,"  he  said.  "Is  there  a 
notary  in  the  building?" 

"A  notary?     What  for?" 

"You've  got  to  swear  to  this  thing.  The 
notary  doesn't  have  to  read  it.  You  know 
that." 

"Suppose  I  refuse?"  Porter  asked  sullenly. 

"If  you  do,  you'll  be  in  jail  before  night." 

Porter  wilted. 


"Call  up  the  office,"  he  said,  weakly. 
"They've  got  one." 

Lloyd  did  as  he  was  directed.  A  few  mo- 
ments later  a  spruce  young  man  appeared,  took 
Porter's  acknowledgment  and  withdrew.  Ar- 
thur thrust  the  document  into  his  pocket. 

"Thanks,  old  man,"  he  said.  "I  give  you 
my  word  of  honor  not  to  allow  a  word  of  this 
to  become  public.  Good  day."  He  left  the 
room. 

As  he  went  out  he  saw  Porter,  beside  the 
cluttered  table,  pour  half  a  tumbler-full  of 
Scotch. 

CHAPTER  XXI 

ARTHUR  LLOYD  was  so  pleased  with 
-*  Miimself,  and  with  the  clever  way  in  which 
he  had  handled  an  extremely  delicate  situation, 
that  he  began  to  question,  on  his  way  home, 
the  advisability  of  turning  the  damning  docu- 
ment in  his  pocket  over  to  Helen  Kramer. 

Why  leave  it  with  her,  to.  settle  matters  with 
Romain?  What,  after  all,  were  her  real 
motives  in  the  matter?  Her  pretended  interest 
in  Joy  and  her  welfare  he  decided  were  prob- 
ably assumed.  What  other  reason,  then,  could 
she  have?  Why — to  blackmail  Romain,  of 
course.  It  was  a  game  not  by  any  means 
unknown  in  Hollywood;  Arthur  had  heard  of 
at  least  two  prominent  stars  who  had  been 
made  to  pay  through  the  nose  to  the  tune  of 
many  thousands,  for  momentary  indiscretions. 
It  would  be  a  pretty  piece  of  business  if  he  had 
gone  to  all  this  trouble  merely  to  further  Mrs. 
Kramer's  schemes.  Why  not  go  to  Romain 
himself?  Or — better  still — why  not  go  direct 
to  Joy?  To  approach  the  famous  star  for  the 
purpose  of  forcing  him  to  let  his,  Arthur's, 
sweetheart  alone  would  be  humiliating  beyond 
words.  But  he  could  quite  properly  say  to  Joy, 
"Cut  this  fellow  out  entirely,  or  I  will  ruin 
him."  If  Joy  cared  nothing  about  Romain, 
she  would  agree  at  once.  There  would  be  no 
reason  for  her  to  do  otherwise.  And  if  she  had 
become  temporarily  fascinated  by  him,  she 
would  be  equally  certain  to  agree,  in  order  to 
save  him  from  exposure.  So  either  way, 
Arthur  argued,  he  could  not  lose.  He  drove 
up  to  the  hotel,  went  to  his  room,  changed  his 
clothes  and  swallowed  a  cup  of  coffee.  The 
forenoon  was  well  advanced,  he  would  be 
obliged  to  make  awkward  explanations,  for 
holding  up  the  picture  he  was  doing  for  several 
hours,  but  the  thing  could  be  managed.  He 
dashed  off  to  the  Robertson-Black  lot,  and 
arranged  with  one  of  the  boys  about  the  studio 
to  drive  Mrs.  Kramer's  car  back  to  her  house 
at  once.  He  would  see  her,  he  sent  word, 
sometime  during  the  evening,  and  thought  he 
probably  would,  but  not  until  he  had  first  had 
a  talk  with  Joy. 

He  found  her  at  the  hotel  just  before  dinner. 
His  absence  during  the  morning  had  made  him 
late  in  getting  back  from  the  studio.  In  the 
breast  pocket  of  his  coat  he  could  feel  the 
crinkling  sheets  of  hotel  paper  on  which  Ray 
Porter  had  scrawled  his  confession.  These 
few  sheets,  he  believed,  would  gain  for  him  his 
heart's  desire. 

Joy  accepted  his  invitation  to  dinner,  but 
during  the  meal  he  said  nothing  of  his  quest 
of  the  night  before.  They  talked  of  trivial 
things — the  daily  gossip  of  the  studios — the 
work  of  the  day  to  come.  But  each  felt  that 
the  moment  held  tremendous  possibilities — 
Joy,  because  she  sensed  in  her  companion's 
manner  something  new — Arthur,  because  he 
knew  he  held  a  trump  card  which  he  was  not 
yet  ready  to  play. 

When  dinner  was  over,  and  the  evening 
yawned  before  them,  Lloyd  suggested  a  drive. 
They  might  run  over  to  Santa  Monica,  he 
thought,  or  just — drive.  It  was  a  gorgeous 
night,  silver  and  black  beneath  the  rising 
moon,  and  Joy  assented,  glad  to  get  away  from 
the  jazzy  atmosphere  of  the  hotel. 

The  taxi  went  very  rapidly,  and  for  many 
moments  Arthur  was  silent.  Presently  he 
began  to  talk — to  tell  Joy  of  Mrs.  Kramer's 
interest  in  her — of  her  suggestion  about  Ro- 
main— of  the  manner  in  which  he,  Arthur,  had 
carried  it  out. 


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"I  went  to  Lo*  Angeles,"  he  said,  "last 
night,  and  had  a  talk  with  this  fellow  Porter. 
He  gave  me  the  dope,  all  right." 

"What  do  you  mean?"  Joy  asked,  trem- 
bling.^ 

"Why — I  was  informed  that  he  knew  some- 
thing about  Mrs.  Romain's  death,  so  I  went 
after  him — made  him  confess." 

"Confess  what?" 

Arthur  lingered  the  papers  in  his  pocket. 

"I  got  a  statement  that  he  was  there,  that 
night,  when  Romain's  wife  was  shot.  He  told 
me  the  truth  about  what  happened." 

"  What  did  happen?  "  Joy's  hands  were  like 
ice.  She  knew  that  she  must  right,  for  time. 
If  any  danger  threatened  Jean  Romain,  she 
was  determined,  at  any  cost,  to  avert  it. 

Arthur  yawned,  lit  a  cigarette. 

"I  don't  think  I'll  tell  you,  now.  You  can 
read  all  about  it,  in  Porter's  statement.  But 
I  don't  mind  saying  it  will  prove  that  Ro- 
main's alibi  was  a  fake." 

Joy  paled.     This  was  serious  indeed. 

"Arthur,"  she  asked  suddenly,  "what  pur- 
pose did  you  have  in  going  to  this  man  Porter? 
What  have  you  against  Mr.  Romain?" 

"I?  Nothing.  Only  I  don't  like  the  way  in 
which  he's  been  making  love  to  you,  and  I 
propose  to  stop  it." 

"But — what  makes  you  think  he  has  been 
making  love  to  me?" 

"I  know  he  has,  the  dirty  hound,  in  spite  of 
being  engaged  to  another  woman." 

"DOR  a  moment  Joy  feared  to  speak,  lest  her 
•*-  voice  betray  her.  In  some  way,  she  knew, 
she  would  have  to  get  that  confession  from 
Arthur.  But  how?  He  seemed  tremendously 
sure  of  himself.  She  placed  her  hand  over  his; 
it  was  one  of  the  few  times  she  had  ever  shown 
Lloyd  any  affection;  she  regretted  that  it  had 
to  be  assumed. 

"Arthur,"  she  whispered  in  a  low,  eager 
voice,  "give  me  that  confession." 

"Why  should  I?"  He  seemed  uncertain, 
now.  "I — I'll  let  you  read  it,  when  we  get 
back,  but  why  should  I  give  it  to  you?  After 
you've  read  it,  seen  what  a  rotter  this  fellow 
is,  I  expect  you  to  do  two  things." 

"What?" 

"First,  to  chuck  him,  absolutely." 

Joy  remained  silent.  She  could  hear  the 
quick  beating  of  her  heart. 

"Second,"  Arthur  went  on,  "to  marry  me. 
I'm  not  trying  to  threaten  you,  Joy,  but — 
well — those  are  my  terms.  On  the  day  we  are 
married  you  can  have  this  paper  to  do  what 
you  please  with.  Tear  it  up.  Burn  it.  Let 
Romain  go  ahead  and  marry  Miss  Gresham. 
After  all,"  he  added  bitterly,  "what  difference 
does  it  make  to  you?  " 

Joy  sat  crouched  in  one  corner  of  the  taxi- 
cab,  thinking — thinking.  Would  she  have  to 
marry  Arthur,  in  order  to  save  Romain?  It 
was  too  big  a  price.  She  did  not  love  Arthur — 
had  never  loved  him.  The  man  she  did  love 
she  must  save,  even  though  he  could  never  be 
anything  more  to  her  than  a  friend.  It  was  a 
desolate  prospect,  this  future  of  loneliness  and 
regret,  yet  she  faced  it.  Anything— anything 
— to  save  Jean. 

And  then,  quite  suddenly,  a  new  thought 
came  into  her  mind.  Why  not  tell  the  truth? 
She  turned  to  her  companion  almost  eagerly. 

"Arthur,"  she  said,  her  voice  trembling  with 
feeling,  "have  you  any  idea  how  I  got  this 
position  with  the  Royal — why  I  came  to 
Hollywood?" 

"No.  I  thought  at  one  time  you  were 
struck  on  old  Watrous,  but  I  guess  that  was  a 
mistake." 

"Yes.  It  was.  Mr.  Watrous  is  nothing  to 
me.  But  he  didn't  get  me  this  position  with 
Royal  Films  for  nothing,  just  the  same. 
There  was  a  price  to  be  paid — " 

"Huh!"  Lloyd  sat  up,  regarded  her  keenly. 
"What  price?     I  don't  understand." 

"Don't  you  remember,  Arthur,  that  before 
I  left  New  York  you  were  very  jealous  of  Mr. 
Watrous — thought  he  and  I  were  carrying  on 
an  affair?  And  I  told  you,  then,  that  there 
was  a  reason  for  my  coming  to  Hollywood — a 


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125 


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reason  I  couldn't  explain?" 

"Yes — I  remember  that." 

"Well — I'm  going  to  tell  you  what  that 
reason  was.  I  haven't  any  right  to.  It's  a 
breach  of  confidence,  but — as  matters  stand, 
I  think  it  is  justified.  But  you've  got  to 
promise  me  never  to  say  a  word — " 

Arthur  tossed  his  half-smoked  cigarette 
through  the  window. 

"Everybody's  asking  me  to  keep  my  mouth 
shut,  nowadays,"  he  laughed.  "All  right.  Go 
ahead.     I  promise." 

"On  vour  word  of  honor?" 

"Yes." 

"Very  well.  Mr.  Watrous  got  me  this  posi- 
tion with  the  Royal  because  he  is  attorney  for 
Mr.  Gresham — Margot's  father.  You  may  not 
know  it,  but  Mr.  Gresham  has  powerful  friends 
in  the  picture  business.  That's  how  I  got  this 
chance." 

"Well — what  of  it?  What's  Mr.  Gresham 
got  to  do  with  it?" 

"Don't  you  see?  Mr.  Gresham  is  deter- 
mined to  break  off  this  marriage  between 
Romain  and  his  daughter.  He  believed  that 
Romain's  past  had  something  in  it  that  was — 
well — discreditable.  He  thought  that  if  the 
facts  could  be  brought  out,  he  could  make  use 
of  them  to  break  off  the  match — to  have  Ro- 
main arrested,  put  in  jail,  on  a  charge  of  caus- 
ing the  death  of  his  wife.  That  he  could,  in 
fact,  ruin  his  career  on  the  screen.  That's 
what  I  was  sent  west  for — to  find  out  the 
truth." 

Lloyd  gave  a  low  whistle. 

"You  mean  to  say  that — that  you  were  sent 
out  here  to  spy  on  him?" 

"Yes.     Tha't's  the  truth." 

"What  were  you  supposed  to  get  out  of  it?" 

"First,  my  job  with  the  Royal.  A  chance 
to  make  good." 

"Is  that  all?'_' 

"No.  That  isn't  all.  If  I  prevent  Romain 
from  marrying  Margot  Gresham,  Mr.  Gresham 
has  agreed  to  pay  me  a  hundred  thousand 
dollars." 

"What?"  The  magnitude  of  the  sum  almost 
took  Lloyd's  breath  away. 

A  HUNDRED  thousand  dollars.  Mr. 
Gresham,  you  know,  is  a  very  rich  man. 
He  would  pay  any  amount  to  save  his  daughter 
from  what  he  thinks  would  be  an  unhappy 
marriage." 

"Well,  what  do  you  think  of  that!"  Arthur 
whispered  softly  to  himself.  This  changed 
matters  completely.  "So  that's  why  you've 
been  playing  around  with  him?"  he  exclaimed. 
"I  see.  But  you  weren't  expected  to  break  up 
this  marriage  by  making  love  to  him  yourself, 
were  you?" 

"No.  They  thought  I  might  be  able  to  get 
some  information  about  his  past — something 
that  would  discredit  him.    And  I  have  failed." 

"Well — I  haven't!  I've  got  the  goods  on 
him.  A  hundred  thousand  iron  men.  What 
do  you  think  of  that?" 

"It  isn't  worth  a  hundred  thousand  dollars 
to  you"  Joy  said.  "In  fact,  if  you  make  this 
confession  public  in  any  way,  Romain  will  be 
arrested,  and  Mr.  Gresham  won't  have  to  pay 
anything  at  all.  The  result  he  is  after  will  all 
ready  have  been  accomplished.  But  if  you 
are  willing  to  give  that  paper  to  me — " 

Arthur  leaned  forward,  spoke  sharply  to  the 
chauffeur. 

"Go  back  to  the  hotel,"  he  said.  Then  he 
turned  to  Joy.  "I've  done  you  a  great  injus- 
tice, I'm  afraid.  I  thought  you  were  trying  to 
vamp  this  fellow  Romain — or  that  he  was  try- 
ing to  vamp  you.  Now  I  understand.  And  I 
see  why  Mrs.  Kramer  wanted  this  paper,  too. 
I  guess  she  must  have  got  wind  in  some  way  of 
the  situation,  and  figured  that  Mr.  Gresham 
was  ready  to  come  across  big,  in  order  to  have 
the  marriage  stopped.  Look  here,  Joy — you're 
playing  square  with  me,  aren't  you?" 

Joy  hesitated.  The  situation  was  a  difficult 
one. 

"I've  told  you  the  truth,"  she  said. 

"Yes — I  believe  you  have.  In  spite  of  your 
talent,  I  always  thought  there  was  something 


The  Secret  of 

Paderewski's 

Greatness 


WHAT  is  the  secret  of  really  great 
piano  playing?  What  is  that  pe- 
culiar quality  possessed  by  such 
artists  as  Paderewski,  Rachmaninoff, 
Hofman,  Bauer,  that  has  always  seemed 
such  a  mystery  to  the  layman  ? 


The  Secret  is  Yours 

IT  IS  NO  MYSTERY.  Modern  science 
has  discovered  that  it  is  nothing  but 
complete  co  ordination  between  mind 
and  hand,  perfect  co-operation  of  brain 
and  muscle.  Artistic  technic  —  that 
quality  which  has  been  held  as  such  a 
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Many  musicians  still  hold  artistic  technic 
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using  the  old  method,  which  dates  back 
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untary Resistance)  and  the  piano  may  be 
mastered  by  anyone  in  less  than  one- 
fourth  the  time  taken  by  the  old  method. 

Master  the  Piano 

In  one-fourth  the  usual  time 

The  National  Piano  College  has  devel- 
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Whether  you  are  a  beginner  or  whether 
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If  you  are  not  absolutely  satisfied  after 
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for  full  information  re- 
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126 


Photoplay  Magazine — Advertising  Section 


Is  This  a  Miracle? 

Beauty  Scientists    Call    It  That 

By  Marion  Frances 


H^-* 

The 

J  l£ 

Same 
Girl 

4- 

ojeiuit;  skln  wag  sa,_ 

low,  dark,  muddy.  Black- 
beads  helped  make  It  ugly. 
Freckles,  too,  were  noted. 


5  Minutes  After 


at 


least  five  shades.      Blackhi 
Bone,    freckles   reduced.      "A 
miracle,"    say  world's  beauty 
experts. 

The  thrill  of  seeing  your  skin  transformed  before  your  own 
eyes  in  5  minutes.  Ilotr  mysterious  blending  of  certain 
plants  and  /loners,  without  "beauty  mud"  or  artificial 
bleach,  purges  face  pores  and  presto! — a  skin  like  a  baby's 
instantly. 
Can  you  lmaclne  a  sallow  skin,  one  even  marred  by 
blackheads  and  freckles,  cleared  up  and  left  soft  and 
white  and  lovely  as  a  baby's  In  5  minutes?  It  sounds 
like  magic.     And  beauty  scientists  call  it  that. 

The  Inventor  Is  an  internationally  noted  beauty  spe- 
cialist. His  miraculous  transformations  have  gained 
for  him  the  title  of  "The  Man  Who  Works  Miracles 
on  Women's  Faces."  So  many  thousands  are  adopting 
his  method  that  it  Is  said  a  woman  with  anything  short 
of  a  flawless  complexion  soon  will  be  a  rarity. 

PURGES  THE  PORES 

The  Poralax  method  Is  unlike  any  other  ever  per- 
fected. Dermatologlcal  authorities  say  it  has  no  parallel 
in  the  annals  of  beauty  culture.  It  is  a  simple  cream- 
poultice,  compounded  of  plants  and  flowers,  that  affects 
the  pores  like  a  laxative  does  the  bowels — cleans  out  the 
poisonous  accumulations. 

Containing  do  bleach,  no  harsh  chemicals,  no  Clay, 
it  purges  every  pore  in  your  face  within  5  minutes.  You 
apply  It  like  cold  cream  and  results  are  unbelievable  until 
you  see  them  with  your  own  eyes. 

At  the  recent  Beauty  Congress,  dark-skinned  women 
and  girls,  women  with  mottled,  ugly  skins  were  brought 
in  for  the  Poralax  treatment. 

In  one  application  their  skins  were  lightened  from 
four  to  seven  shades.  Blackheads  were  removed — every 
one.  Freckles  and  fine  lines  disappeared  as  If  by  magic. 
Beauty  experts  from  all  the  world  stood  awed  before 
what  was  done,  for  instant  beauty,  an  unattractive 
woman  transformed,  had  become  a  reality. 

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queer  about  your  getting  this  engagement  with 
the  Royal  so  easily.  It  isn't  being  done,  you 
know — that  sort  of  thing.  Now  I  understand. 
When  we  get  back  to  the  hotel  I'm  going  to 
give  you  this  confession  of  Porter's  to  read. 
But  I  can't  let  you  send  it  to  Watrous,  as  I 
suppose  you  figure  to  do.  I've  given  my  word 
not  to  allow  the  thing  to  be  made  public.  And 
there's  no  need  of  it.  All  that's  necessary  is  to 
go  to  Romain  with  this  document — tell  him 
where  he  gets  off — " 

"I  couldn't  do  that." 

"No — of  course  not.  I  wouldn't  want  you 
to.     But  I  can  do  it  myself." 

"That  wouldn't  be  wise  either,  Arthur. 
You're  not  concerned  in  the  matter.  Mr.  Ro- 
main would  probably  refuse  to  listen  to  you." 

"Oh,  no,  he  wouldn't.  Not  with  the  paper 
in  my  hands." 

"But  he  naturally  wouldn't  see  what  inter- 
est you  had  in  his  marriage.  And  how  would 
you  get  the  hundred  thousand  dollars?  I'm 
the  only  one  who  could  do  that." 

"Well,  then,  who  do  you  think  is  the  proper 
person  to  see  him?" 

"Mr.  Watrous,  of  course — with  this  paper. 
He's  Mr.  Gresham's  lawyer." 

"Of  course."  Arthur  slapped  his  knee 
sharply.  "You'll  have  to  wire  him  to  come 
out  here.  And  make  him  pay  up,  when  we 
deliver  him  the  paper." 

"That's  what  I  thought." 

"No  question  about  it.  Send  him  a  wire 
tonight.  Here  we  are  at  the  hotel.  And  I  say, 
Joy,  if  I  give  you  this  paper  to  read,  you'll 
take  good  care  of  it?" 

"Of  course  I  will,  Arthur." 

"Naturally,  if  anything  happened,  I  could 
go  to  Porter  and  get  another  confession,  but 
I  don't  want  to  do  that.  He  might  think  it 
queer,  and  refuse  me.  I  had  him  at  a  disad- 
vantage this  morning."  As  he  spoke,  the  taxi- 
cab  stopped  before  the  entrance  to  the  hotel. 
He  helped  Joy  out,  followed  her  into  the  lobby. 
Pale  as  marble  she  turned  to  Lloyd. 

"/""MVE  me  the  statement,"  she  said.    "I'll 
^-Jgo  up  to  my  room  and  read  it."     Arthur 
took  the  folded  sheets  from  his  pocket. 

"Here  you  are,"  he  said,  thrusting  the  docu- 
ment into  Joy's  hands.  "Take  good  care  of 
it.  A  hundred  thousand  is  real  money.  We 
can  be  married  at  once.  See  you  in  the 
morning." 

"Yes,  Arthur."  Joy  spoke  calmly,  but  her 
heart  was  on  fire.  She  placed  the  sheets  of 
paper  in  her  handbag.  "You  won't  mind  if  I 
go  right  up.  It's  half  past  ten,  and  I'm  tired 
out.  Suppose  we  have  breakfast  together,  at 
eight." 

"Fine.  I'm  tired,  too.  Only  about  five 
hours' sleep  last  night,  fooling  with  that  dumb- 
bell." He  extended  his  hand.  "But  I  don't 
mind  that,  now.  Looks  as  though  it  was  the 
best  night's  work  I  ever  did.  A  hundred 
thousand  frogskins!  Oh  boy!  We'll  buy  a 
Rolls-Royce."     Joy  was  on  the  verge  of  tears. 

"Good  night,  Arthur,"  she  whispered,  and 
turning,  went  to  her  room,  feeling  that  she 
had  been  a  traitor  to  herself,  to  Arthur,  to 
Watrous,  and  even  to  Jean  Romain. 

She  threw  herself  into  a  chair  and  glanced 
through  the  confession.  Her  cheeks  paled  as 
she  realized  its  significance.  Then,  with  a  look 
of  fierce  determination  in  her  grey-blue  eyes 
she  went  down  to  the  lobby. 

Arthur  was  nowhere  about.  No  doubt  he 
had  gone  to  his  room.  With  a  sudden  lifting 
of  her  chin  Joy  went  out  to  the  street.  A 
taxicab  stood  before  the  door,  its  chauffeur  a 
young  fellow  who  had  often  driven  her  to  the 
studio.  She  went  up  to  him,  a  brave  smile 
about  her  lips. 

"You — you  know  where  Mr.  Jean  Romain's 
house  is,  don't  you?"  she  asked. 

"Certainly,  miss." 

"Drive  me  there — at  once."  With  a  feeling 
that  she  had  reached  the  final  crisis  of  her  life, 
Joy  got  into  the  cab.  As  it  drove  off,  she 
thought  she  saw  the  figure  of  Arthur  Lloyd 
dash  hurriedly  through  the  lobby. 

f  END  OF  FIFTH  INSTALLMENT  ] 


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Evervone  should  possess  the  ability  to  play  some 
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Photoplay  Magazine — Advertising  Section 

Questions  and  Answers 

[  CONTINUED  FROM  PAGE  Il6  ] 

G.  A.  Danbury,  Conn. — With  sweet  un- 
consciousness of  it  you  have  paid  a  tribute  to 
Lon  Chaney  as  an  actor,  my  dear  Grace.  You 
write  concerning  a  picture  in  which  you  saw 
him  about  two  years  ago,  and  in  which  you 
say,  he  had  no  legs  but  just  stumps.  He  wore 
an  arrangement  of  leather  over  his  own  legs. 
When  the  scenes  were  finished  the  leather  con- 
trivance was  removed  and  lo!  Mr.  Chaney 
stood  once  more  on  his  own  legs. 

M.  M.,  Denver,  Colo.— The  offer  of  a 
lump  of  real  coal  to  the  person  who  correctly 
pronounces  the  names  of  the  characters  in 
"The  Passion  Flower"  has  attracted  you.  It 
still  holds.  When  you  wrote,  "Just  because 
I'm  in  this  burg  is  no  sign  that  I'm  one  of 
'em.  I'm  a  native  daughter  of  the  Golden 
West  and  proud  of  it,"  I  was  sure  you  would 
win  the  baby  diamonds.  Particularly  if  you 
are  from  San  Jose  or  further  south,  where 
Spanish  is  known.  No,  I'm  not  rash.  No 
more  so  than  usual.  For  you  know,  don't 
you,  M.  M.,  that  coal  is  one  of  the  first  stages 
of  the  diamond,  as  the  caterpillar  is  of  the 
butterfly?  So  don't  tell  your  fiance  that  a 
rude  writer  who  lives  in  wicked  Gotham  has 
offered  you  diamonds.  It's  true,  but  it  isn't. 
You  say  you  would  like  to  see  "The  Passion 
Flower"  and  ask  when  it  was  produced. 
About  April  ioth,  1921.  Norma  Talmadge 
was  the  star.  You  want  to  record  your  pro- 
test against  Stan  Laurel's  "burlesque  of 
Rudie's  wonderful  actuality."  You  refer  to 
"Mud  and  Sand"?  Everything  has  been 
parodied  or  burlesqued.  Don't  mind,  my 
dear.  Even  life  is  a  bit  of  burlesque,  now  and 
then. 


I  2' 


Your 
««Y^I^/1^  1         "     skin  can  be 

■  /|^P   H      H»  quickly  cleared  of 

I    .^fi*  Pimples.  Blackheads, 

rB=Is'^  Acne    Eruptions   on    the 

I    }*  face  or  body— Enlarged  Pores, 

3*         Oily  or  Shiny  Skin.    Clear-Tone 

has  been  Tried,  Tested  and  Proven 

its  merits  in  over  100,000  teat  cases. 

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C.  L.  H.,  Herkimer,  N.  Y. — For  the  photo- 
graphs of  the  Fox  Film  stars  write  care  Fox 
Film  Company,  New  York  City.  These  are 
the  names  of  plays  and  the  release  dates  you 
request.  "Yellow  Men  and  Gold,"  May, 
1922;  "The  Man  from  Beyond,"  Sept.  15th, 
1922;  "I  Am  the  Law,"  June,  1922;  "For  Big 
Stakes,"  June  8th,  1922;  "The  Man  from 
Beyond"  was  one  of  the  Houdini  Pictures. 
"I  Am  the  Law"  was  released  by  the  Affiliated 
"  God's  Country  and  the  Law,"  by  the  Arrow 

E.  C.  C,  Schenectady,  N  Y—  Ah!  At 
last  we  have  an  admitted  bride.  Bachelor 
blushes  mount  my  leather  colored  cheeks  when 
I  have  to  write  sweet  nothings,  or  somethings 
to  ingenues  and  debutantes.  Here  are  you 
E.  C.  C,  warning  me  off  the  grass  of  flirtation 
by  saying:  "I  am  a  New  York  girl  mvself 
but  have  settled  down  and  married  in  the  last 
few  years  in  Schenectady,  which  is  not  such 
a  bad  place  as  some  think  it."  Like  Brook- 
lyn, isn't  it?  I  confess  I  like  the  city  of  many 
jests,  reached  by  one  of  four  bridges  and  any 
number  of  ferry  boats.  A  woman  of  the  blonde 
type,  reddish  blonde,  played  the  mother  in 
"Tol'able  David."  She  is  Marion  Abbot,  an 
experienced  actress  of  stage  and  screen.  You 
ask  for  "as  many  particulars  as  possible" 
about  Margery  Wilson,  who  played  the  role  of 
Mercedes,  who  marries  Captain  Thorn  in 
"Desert  Gold".  She  was  born  in  Kentucky. 
She  is  a  cousin  of  Dorothy  Dix,  who  writes 
advice  to  women  for  a  syndicate  of  newspapers. 
Dorothy  Dix  is  the  pen  name  of  Mrs.  E.  M. 
Gilmer.  Her  home  address  is  1225  General 
Pershing  Ave.,  New  Orleans,  La.  She  is  such 
a  charmingly  good-humored  woman  that  I  am 
sure  if  you  wrote  her  for  still  further  particulars 
about  her  cousin  she  would  send  them  or  ask 
her  cousin  to  write  you.  My  dear  E.  C.  C, 
"how  to  secure  a  list  of  the  chorus  girls  in  New 
York  shows"!  I  stagger.  I  stumble.  Almost 
do  I  fall,  but  I  recover.  Ned  Wayburn,  the 
famous  stage  director,  told  me  that  he  has 
kept  the  addresses  of  chorus  girls  for  twenty 
years.  He's  your  man.  Address  him  care  of 
229  West  45th  Street,  New  York,  N.  Y. 
Ned's  a  gallant  gentleman.  He  will  reply,  or 
his  secretary  will. 

you  write  to  advertisers  please  mention  PTIOTOPLAY  MAQJ7JNE. 


Ones  Eyes  'Njever 
Have  a  Vacation 

Vacation-time  brings  needed  rest 
and  relaxation  —  except  to  your 
EYES.  Not  only  does  travel  ex- 
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FRECKLES 


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DEAFNESS       IS      MISERY 

I  know  because  Iwas  Deaf  and  had  Head  Noises 
for  over  30  years.  My  invisible  Antiseptic  Ear 
Drums  restored  my  hearing  and  stopped  Head  Noises, 
and  will  do  it  for  you.  They  are  Tiny  Megaphones. 
Cannot  be  seen  when  worn.  Effective  when  Deafness 
is  caused  by  Catarrh  or  by  Perforated,  Partially  or 
Wholly  Destroyed  Natural  Drums.  Easy  to  put  in, 
easy  to  take  out.  Arc  "Unseen  Comforts."  In- 
expensive. Write  for  Booklet  and  my  aworn 
statement  of  how  1  recovered  my  hearing. 

A.  O.  LEONARD 


Suite 22?.,  70  5th  Avenue 


New  York  Ctrjr 


128 


Photoplay  Magazine — Advertising  Section 


Making  Money  Go  a  Long  Way 


II 


GEORGE  WASHINGTON,  it  is  related, 
threw  a  silver  dollar  across  the  Potomac 
River.  At  the  spot  where  the  feat  is  said  to 
have  been  performed,  the  stream  is  approxi- 
mately a  mile  in  width.  But,  admittedly,  a 
dollar  went  farther  then  than  now. 

You  can  make  your  dollar  go  farther  than  it 
otherwise  would  by  reading  the  advertisements. 

Guided  by  advertising,  you  buy  merchandise 
of  established  reputation.  If  it's  clothing,  you 
know  how  well  it  should  wear  and  what  the 
style  should  be.  If  it's  a  musical  instrument, 
you  know  what  to  expect  in  tone  and  work- 
manship. If  it's  a  vacuum  cleaner,  you  know 
what  kind  of  service  it  should  give. 

It  pays  to  read  advertising.  It  will  save  you 
time,  money  and  effort.  It  will  help  you  dress 
better,  eat  better,  sleep  better  and  live  better. 


Make  every  dollar  travel  far 
Read  the  advertisements 


Lvery  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed 


N.S.E. 


It  does  for  you 
what  you 
will  not  do ! 


I  OU  might  get  your  teeth 
clean  with  an  ordinary  brush, 
if  you  would  also  clean  be- 
tween your  teeth  with  dental 
floss,  clean  the  backs  of  your 
back  teeth  with  cloth  wrap- 
ped on  your  finger,  and  mas- 
sage your  gums  with  your 
finger  tips. 

You  will  not  take  the  time 
to  do  all  this  when  you  brush 
your  teeth.  The  Pro-phy-lac- 
tic  Tooth  Brush  does  it, 
with  the  least  of  effort,  for 
you. 

The  curved  shape  of  your 
Pro-phy-lac-tic  Tooth  Brush 
permits  the  widely  set,  ser- 
rated (or  saw-tooth  style) 
bristles  to  reach  and  clean  the 
crevices  between  the  teeth. 
Ordinary  brushes  merely 
bridge  over  these  crevices. 
The  large  end  tuft  of  your 
Pro-phy-lac-tic  Tooth  Brush 
reaches  and  cleans  the  back 


of  your  back  teeth.  The  Pro- 
phy-lac-tic  Tooth  Brush  gives 
mild  and  stimulating  massage 
to  the  gums,  if  you  will  re- 
member to  brush  away  from 
your  gums. 

The  Pro-phy-lac-tic  Tooth 
Brush  has  these  distinctive 
and  essential  features  — 
curved  brush  shape  and  large 
end  tuft.  The  curve,  size,  and 
shape  of  the  Pro-phy-lac-tic 
brush  handle,  entirely  differ- 
ent from  that  of  any  other 
tooth  brush,  make  it  easy  for 
the  widely  spaced  bristles,  set 
serrated  or  saw-tooth  style,  to 
reach  and  clean  the  danger 
points  in  teeth  that  are  often 
overlooked. 

Make  sure  of  tooth  clean- 
liness. Remember,  a  clean 
tooth  never  decays.  See  that 
your  tooth  brush  comes  in 
the  sanitary  yellow  box 
marked  f*rop%£ocIic . 


Sold  by  all  dealers  in  the  United  States,  Canada,  and  all  over  the  world  in 

the  sanitary  yellow  box.     Three  shds-  -adults',  youths',  and  children's; 

made  in  three  diffirunt  textures  o/b, istles  —  hard,  medium,  and  soft. 

FLORENCE  MANUFACTURING  COMFANY,  Florence,  Massachusetts,  U.  S.  A. 

©  1923,  Florence  Mfg.  Go. 


What  happens 

when  you  brush 

your  teeth 


Brush  your  upper 
teeth  downward. 

Brush  your  lower 
teeth  upward. 

The  Pro-phy-lac-tic 
Tooth  Brush  is  curved 
to  fit  the  jaw  like  this: 


Instead  of  touching  the  teeth  at  a  few  points 
only,  like  this: 


With  the  ordinary  tooth  brush,  you  cannot 

brush  the  backs  of  the  teeth  the  same  way  that 

you  clean  the  front,  because  the  brush  goes 

slantwise  into  your  mouth,  like  this: 


pntiDTL- 


JWMP»_ 


^jnlMliMU 


Non-tufted  types  of  brushes  cannot  clean  the 

backs  of  the  back  teeth,  because  the  bristles 

cannot  reach  them.     The  bristles  over-reach, 

like  this: 


The  large  end  tuft  of  the  Pro-phy-lac-tic  Tooth 
Brush  does  reach   and  clean   the 
backs  of  the  back  teeth,  like  this: 


128 


The  secret 
of  having 
beautiful  hair 


How  to  keep  your  hair  soft 
and  silky,  full  of  life  and  lus- 
tre, bright  and  fresh-looking 


N~  O  one  can  be  really  attractive,  without 
beautiful  well  kept  hair. 
Stop  and  think  of  all  the  good  look- 
ing, attractive  women  you  know.  You  will 
find  their  hair  plays  a  mighty  important  part 
in  their  appearance. 

Beautiful  hair  is  not  a  matter  of  luck,  it 
is  simply  a  matter  of  care. 

You,  too,  can  have  beautiful  hair,  if  you 
care  for  it  properly. 

In  caring  for  the  hair,  proper  shampooing 
is  the  most  important  thing. 

It  is  the  shampooing  which  brings  out  all 
the  real  life  and  lustre,  the  natural  wave 
and  color,  and  makes  your  hair  soft,  fresh  and 
luxuriant. 

While  your  hair  must  have  frequent  and 
regular  washing  to  keep  it  beautiful,  it  can- 
not stand  the  harsh  effect  of  ordinary  soaps. 
The  free  alkali  in  ordinary  soaps  soon  dries 
the  scalp,  makes  the  hair  brittle  and  ruins  it. 

That  is  why  discriminating  women,  every- 
where,' now  use  Mulsified  cocoanut  oil  sham- 
poo. This  clear,  pure  and  entirely  greaseless 
product  cannot  possibly  injure,  and  it  does 
not  dry  the  scalp  or  make  the  hair  brittle,  no 
matter  how  often  you  use  it. 

When  oily,  dry  or  dull 

If  your  hair  is  too  oily,  or  too  dry;  if  it  is 
dull  and  heavy,  lifeless,  stiff  and  gummy;  if 
the  strands  cling  together,  and  it  feels  harsh 
and  disagreeable  to  the  touch;  or  if  it  is  full 
of  dandruff,  it  is  all  due  to  improper  sham- 
pooing. You  will  be  delighted  to  see  how  easy 
it  is  to  keep  your  hair  looking  beautiful,  when 
you  use  Mulsified  cocoanut  oil  shampoo. 

The  quick,  easy  way 
Two  or  three  teaspoonfuls  of  Mulsified  in 


a  cup  or  glass  with  a  little  warm  water  is  suf- 
ficient to  cleanse  the  hairand  scalp  thoroughly. 

Simply  pour  the  Mulsified  evenly  over  the 
hair  and  rub  it  in.  It  makes  an  abundance 
of  rich,  creamy  lather,  which  rinses  out  quick- 
ly and  easily,  removing  every  particle  of  dust, 
dirt,  dandruff  and  excess  oil — the  chief  causes 
of  all  hair  troubles. 

After  a  Mulsified  shampoo  you  will  find  the 
hair  will  dry  quickly  and  evenly  and  have 
the  appearance  of  being  much  thicker  and 
heavier  than  it  really  is. 

It  keeps  the  scalp  soft  and  healthy,  the  hair 
fine  and  silky,  bright,  fresh-looking  and 
Huffy,  wavy  and  easy  to  manage. 

You  can  get  Mulsified  at  any  drug  store  or 
toilet  goods  counter,  anywhere  in  the  world 
A  4-ounce  bottle  should  last  for  months. 


©   THE  R.    L.    W.  CO. 


Splendid  for  Children 
— Fine  for  Men 


Mulsified 

REG.      U.S.      P  AT  .        O  T  F"  . 

Cocoanut  Oil  Shampoo 


Vhat  Their  Wives  Say  oAbout  Them! 


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v; 

WOMEN  who  first  are  attract' 
ed  to  Holeproof  Hosiery  by 
its  lustrous,  sheer  appearance,  are 
pleasantly  surprised — wearing  it — 
to  find  that  its  charming  beauty  is 
matched  by  unusually  long  service. 
It  is  this  combination  of  style  and 
durability  that  has  made  Holeproof 
the  preferred  hosiery  of  millions. 
Buy  Holeproof  and  both  your  hosiery 
and  money  will  go  farther. 

HOLEPROOF  HOSIERY  COMPANY 

MILWAUKEE,  WISCONSIN 

Holeproof  Hosiery  Company  of  Canada.  Limited 
Londor.,  Ontario 


Holeproof  Silk  Hosiery  for  women 
is  offered  in  Full-Fashioned,  High- 
point  Heel,  Broadseam  Back,  Ex- 
tra-Stretch Ribbed  Top,  and  other 
popular  styles.  Holeproof  is  also 
made  for  men  and  children  in  all 
wanted  styles  and  materials.  If 
your  dealer  cannot  supply  you, 
write  for  price  list  and  illustrated 
booklet. 


©  H.   H.  Co. 


PHILLIPS 


Lagtaft^ra^iaaafc 


&*& 


4t*-  **, 


Photoplay  Magazines-Advertising  Section 


We  Pay  $1,000  Cash 

and  Five -Year  Royalties 


to  men  and  women  of  imagination,  anywhere, 
who  can  learn  to  write  original  screen  plays 
suitable  for  Palmer  Photoplay  Productions, 


The  production,  release  and  exhibition  of 
this  first  of  a  series  of  Palmerplays  blazes 
a  new  trail  in  motion  picture  progress. 

It  is  the  first  visual  expression  of  an 
ideal  for  which  this  picture  producing 
organization  has  waged  a  five-year  cam- 
paign in  and  out  of  the  industry — an  ideal 
to  which  the  industry  first  definitely  com- 
mitted itself  at  the  International  Congress 
of  Motion  Picture  Arts  in  New  York,  last 
June. 

What  is   that   ideal? 

Just  this:  That  picture  drama  deserves, 
and  if  it  ever  becomes  a  serious  art  must 
have,  its  own  distinctive  literature;  and 
that  its  authors  must  write  directly  for 
the  screen,  and  in  the  screen  technique. 

An  easily  attainable  and  logical  ideal ! 
And  a  practical  demonstration  of  it  will  be 
given  in  the  nation's  theatres  this  fall. 

Writer  Shares  the  Profits 

The  Palmer  Photoplay  Corporation  has 
for  five  years  been  urging  the  policy  ap- 
proved by  the  Motion  Picture  Congress; 
and  while  the  delegates  representing  both 
producer  and  author  were  agreeing  upon 
this  policy,  the  finishing  touches  were  be- 
ing given  the  Palmerplay,  "Judgment  of 
the  Storm,"  a  photoplay  built  on  that 
principle. 

The  Palmer  Photoplay  Corporation  goes 
further:  We  pay  royalties  for  five  years 
to  the  author — advancing  $1,000  cash  be; 
fore  the  picture  has  even  begun  to  earn 
its   way. 

But  we  do  not  claim  to  be  alone  in  en- 
couraging the  author: 


$10,000  Annual  Photoplay  Prize 

Adolph  Zukor,  representing  the  largest 
producing  organization  in  the  world,  an- 
nounced to  the  Congress  the  foundation  of 
an  annual  prize  of  $10,000  for  the  best 
photoplay    of    the    year. 

And  producers  and  directors  everywhere 
continue  to  call  for  screen  drama,  created 
by  men  and  women  who  have  imagination 
and  who  understand  screen  technique. 

The  epochal  new  deal  for  writers,  now 
exclusively  Palmer  policy,  is  the  profit- 
sharing  royalty  basis  of  compensation.  We 
predict  that  the  whole  industry  will  even- 
tually be  forced  to  adopt  this  plan. 

And  the  Educational,  Productions  and 
Photoplay  Sales  Divisions  of  the  Palmer 
Photoplay  Corporation  provide  new  writers 
a  fully  accredited  channel  of  direct  con- 
tact with  the   industry. 

We  train  writers  in  the  screen  technique, 
which  does  not  require  literary  skill ;  we 
produce  pictures  from  writers  thus  trained, 
and  we  sell  their  scenarios  to  other 
producers. 

Try  this  Free  Test 

But  we  accept  for  training  only  those 
applicants  whose  minds  are  instinctively 
creative.  To  the  lifeless  imagination  this 
training  is  no  more  useful  than  instruction 
in  painting  would  be  to  the  color  blind. 

You  who  read  this  page  doubtless  have 
long  since  known  of  the  Palmer  Creative 
Test.  It  is  a  highly  perfected  psycho- 
logical divining  rod  with  which  we  detect 
the  presence  or  absence  of  Creative  Imagi- 
nation. Feel  free  to  ask  us  for  it,  using 
the  coupon  below,  if  you  have  ever  felt 
the  urge  of  self-expression  and  wish  to 
determine  whether  or  not  the  screen  is  the 


Lloyd  Hughes  and  Myrtle  Sted- 

MAN   IN 

"  Judgment  of  the 
Storm  " 

From  a  story  written  directly  for 
the  screen  by  Mrs.  E.  S.  Middle- 
ton,  of  Pittsburgh,  a  housewife 
whose  creative  talent  was  discov- 
ered by  the  Palmer  Creative  Test; 
who  was  trained  in  the  photoplay 
technique  by  the  Palmer  Course 
and  Service;  and  whose  photoplay 
was  produced  by  the  Productions 
Division  of  the  Palmer  Photoplay 
Corporation. 

Directed  by  Del  Andrews 

Please    see    this    picture. 
Ask  your  theatre  when  it  is  coming. 


right  medium  for  you.  With  the  test  will 
come  a  fascinating  36-page  booklet,  "Find- 
ing Your  Place  in  Pictures."  No  cost  nor 
obligation,  of  course — it  costs  nothing  to 
know.  And  it  is  too  important  to  decide 
by  guess. 


Save  time  hy 

addressing 

nearest  office 


Palmer  Photoplay  Corporation 

Productions  Division,  Sec.  1209 
Palmer  Bldg.,  Hollywood,  Cal. 
527  Fifth  Ave.,  New  York 
332  S.  Michigan  Ave.,  Chicago 

Send  me  your  Creative  Test.  I  am  to  receive  an 
intimate  petsonal  report  on  my  ability  by  your 
Examining  Board,  without  obligation  or  cost. 
Also  send  me  free,  the  36-page  booklet,  "Find- 
ing Your  Place  in  Pictures." 


Name     

Street     -. 

City     State 

All     correspondence     strictly    confidential. 


Copyright  1923 — Palmer  Photoplay  Corporation 
When  you  write  in  advertisers  jilrase  mention  PTTOTOrLAY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


><3X3XgX^O- 


«>®<S^gXS>=g>CK©Sg 


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Everlssued-FREE! 

Endorsed  by  the  Worlds  Best 
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IRENE  CASTLE—  the  foremost 
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Every  advertisement  in  Hiotoit.a  V  MAGAZINE  is     uarantee'd. 


The  World's  Leading  Motion  Picture  Publication 


PHOTOPLAY  MAGAZINE 


FRANK  T.  POPE 
MANAGING   RDITOR 


JAMES  R.  QUIRK.  Editor 


ADELA  ROGERS  ST.  JOHNS 

WKSTt:flN   KIHTOII  - 


Vol.  XXIV 


Contents 

September,  1923 


No.  4 


Cover  Design 

From  a  Pastel  Portrait  by  J.  Knowles  Hare 

Brief  Reviews  of  Current  Pictures 
In  Tabloid  Form  for  Ready  Reference 

Brickbats  and  Bouquets 
Letters  from  Readers 


Eleanor  Boardman 


10 


15 


Carol vn  Van  Wvck     16 


Friendly  Advice 

The  Department  of  Personal  Service 

Rotogravure:  19 

Andree  Lafayette,  Leatrice  Joy,  Ernest  Torrence, 
Conrad  Nagel,  Pauline  Starke,  Peggy  Shaw  and  Alice 
Joyce 

Speaking  of  Pictures  (Editorials)  James  R.  Quirk     27 

Gloria!    An  Impression  Adela  Rogers  St.  Johns    28 

It  Is  Hard  to  Believe  That.This  Swan  Was  Once  an  Ugly  Duckling 

Does  the  Camera  Lie?  30 

It  Does,  and  Thereby  Adds  Greatly  to  Your  Enjoyment  of  the 
Screen 

The  Most  Popular  Triumvirate  in  All  Filmdom  34 

(Photograph) 
Lillian  and  Dorothy  Gish  and  James  Rennie 

"Hot  Dog!"  Says  Farina  Herbert  Howe    35 

The  Pickaninny  Pola  of  Kid  Comedies  Has  Great  Individuality 

Jackie  Coogan's  Business  Partners  Hold  a  Meeting  36 

Cartoon  by  Wynn  Holcomb 

1  Contents  continued  on  next  page) 

Published  monthly  by  the  Photoplay  Publishing  Co. 

Publishing  Office,  750  N.  Michigan  Ave.,  Chicago,  111. 
Editorial  Offices,  221  W.  57th  St.,  New  York  City 

The  International  News  Company,  Ltd.,  Distributing  Agents,  5  Bream's  Building,  London,  Kngland 

Edwin  M.  Coi.vin,  Pres.  James  R.  Quirk,  Vice-Pres.  R.  M.  Eastman,  Sec.-Treas. 

Kathryn  Dougherty,  Business  Mgr. 
Yearly  Subscription  :  $2.50  in  the  United  States,  its  dependencies,  Mexico  and  Cuba ; 
$3.00  Canada;  $3.50  to  foreign  countries.  Remittances  should  be  made  by  check,  or  postal 
or  express  money  order.    Caution — Do  not  subscribe  through  persons  unknown  to  you. 

Entered  as  second-class  matter  April  24,  1912.  at  the  Postoffice  at  Chicago.  111.,  under  the  Act  of  March  3,  1879. 


Photoplays  Reviewed 

in  the  Shadow  Stage 

This  Issue 

Save  this   magazine  —  refer  to 

the  criticisms  before  you  pick  out 
your  evening's  entertainment. 
Make  this   your  reference  list. 

Page  64 

Three  Wise  Fools Goldw  yn 

Rupert  of  Hentzau Selznick 

Merry-Go-Round Universal 

Page  65 

Peter  the  Great Paramount 

Human  Wreckage F.  B.  O 

Circus  Days First  National 

Page  66 

Success Metro 

The  Law  of  the  Lawless  . . .  Paramount 

The  Fog Metro 

The  Self-Made  Wife Universal 

The  Mysterious  Witness F.  B.  O. 

McGuire  of  the  Mounted.  .  .  .Universal 
Page  67 

Sawdust Universal 

Wandering  Daughters.  .  .First  National 

Desert  Driven F.  B.  0. 

Shootin'  for  hove Universal 

The  Rapids Hodkinson 

Children  of  Jazz Paramount 

Page  95 

Woman  with  Four  Faces.  .  .Paramount 

Short  Subjects Educational 

The  Broken  Wing  Preferred 

The  Love  Piker 

Cosmopolitan-Goldwyn 

Page  96 

Youthful  Cheater>  Hodkinson 

Where  Is  My  Wandering 

Boy  This  Evening?.      United  Art i~ts 

Daughters  of  the  Rich Preferred 

The  Days  of  Daniel  Boone  ..Universal 

The  Cuckoo's  Secret. Bray 

Red  Russia  Revealed Fox 

Itching  Palms F.  B.  O. 


Copyright,  1923.  by  the  PHOTOPLAY    PUBLISHING   COMPANY.  Chicago. 


Contents  —  Continued 

The  Girl  on  the  Cover  Mary  Win  ship 

Eleanor  Boardman  Has  a  Definite  Purpose  in  Life 

Making  the  De  Mille  Version  of  the  Ten  Commandments 
(Photographs) 
It's  an  Enterprise  Calling  for  Architectural  Magnitude 

Love  and  Let  Love  (Fiction)  Octavus  Roy  Cohen 

Sheik  Clothes  Do  Not  Always  Make  Sheik  Manners 

Illustrated  by  C.  F.  Church 

What  Do  They  Earn  Today? 

A  Peep  at  the  Pay  Roll  of  Some  of  the  Leading  Stars 

Mrs.  Reid's  "Human  Wreckage"  (Photographs) 
It  Is  Hailed  Where  It  Is  Shown  as  a  Big  Success 

Authors! — Burn  Up  Your  Alibis!  George  Ade 

If  Your  Story  Is  Mutilated  on  the  Screen  You  Have  Only  Yourself 
to  Blame 

When  They  Were  Bathing  Girls  (Photographs) 

Gloria  Swanson,  Phyllis  Haver,  Mary  Thurman  and  Bebe  Daniels 
of  Yesterday 

The  Photoplay  Medal  of  Honor 

Your  Final  Opportunity  to  Vote  for  What  You  Think  Was  the 
Best  Picture  of  1922 

The  Costello  Family  (Photographs) 
Maurice,  the  Mrs.  and  Dolores 

The  Romantic  History  of  the  Motion  Picture 

Terry  Ramsaye 
Chapter  XVIII:  The  Great  Battle  Between  the  "Trust"  and 
the  Independents 

The  Sweetest  Flower  in  the  King's  Palace  (Photographs) 
Blanche  Sweet  Has  a  Triumphant  Film  Come-Back 

The  Studio  Secret  (Fiction)  Frederic  Arnold  Kummer 
This  Great  Mystery  Story  of  Hollywood  Life  Is  Concluded  in 
This  Issue 

Illustrated  by  James  Montgomery  Flagg 

Close-  Ups  and  Long  Shots  Herbert  Howe 

Comment  on  the  Activities  of  Screen  Personalities 

Rotogravure: 

$5,000  in  Fifty  Cash  Prizes! 

Here  Are  the  Last  of  the  Cut  Puzzle  Pictures — Your  Solution  of 
the  Entire  Series  of  Twenty-Four  Pictures  Must  Be  in  the  Judges' 
Hands  by  Midnight,  September  20 

Julia  Faye  as  Pharaoh's  Daughter  (Photograph) 

Temperament?  Pshaw !  Says  Allan  Dwan       Frank  T.  Pope 

The  Shadow  Stage 

The  Department  of  Practical  Screen  Criticism 


Gossip — East  and  West  Cal  York 

Husbands — by  Their  Wives 

Is  Marriage  a  Failure?    Well,  Just  Read  What  They  Say! 

Marilynn  and  Jack  Pickford  (Photographs) 

Questions  and  Answers  The  Answer  Man 

Why  Do  They  Do  It? 

Screen  "Breaks"  Caught  by  Readers  of  Photoplay 

Casts  of  Current  Photoplays 

Complete  for  Every  Picture  Reviewed  in  This  Issue 

Addresses  of  the  leading  motion  picture  studios 
will  be  found  on  page  126 


37 

38 
40 

44 
45 
46 

47 

48 

49 

50 

53 

54 

58 
59 


f 


=R4M 


63 

64 

68 
74 

78 
81 
94 

120 


A  Screen  Star 

Is  Seeking 

Her  Ideal 
Husband 

She  has  been  reported 
engaged  more  times  than 
any  woman  in  America. 

Within  the  past  few 
months  her  name  has  been 
coupled  with  the  names  of 
no  less  than  five  different 
men,  each  of  whom,  Dame 
Rumor  said,  she  would 
marry. 

But  she  seeKs  an  ldeaj. 
When  she  finds  the  man 
who  equals  her  idea  of 
what  a  husband  should  be, 
she  will  marry.  Not  until 
then.  Who  she  is,  what  her 
ideal  is,  and  how  she 
seeks  him  will  be  told  in 
Photoplay   for   October. 

BROTHERS 
IN  NAME 

are  two  noted  men  of  the 
screen  world,  but  in  habits 
and  tastes  they  are  as  op- 
posed as  the  poles.  One  is 
interested  only  in  wonder- 
ful screen  spectacles;  the 
other  in  simple,  homely 
photoplays. 

One  needs  miles  of  terri- 
tory for  his  sets;  the  other 
requires  only  one  room  or 
a  corner  of  a  stage. 

One  fills  the  eye;  the 
other  touches  the  heart. 

Their  story  also  will  ap- 
pear in  the  October  num- 
ber of  Photoplay,  with 
other  striking  features. 

Don't  miss 

Photoplay 

for  October 
Out  September  15th 


Photoplay  Magazine — Advertising  Section 


Why  Mrs  Blakely 
-How  Do  You  Do! 


He  had  met  her  only  once  before.  Some  one  had  pre- 
sented him  at  a  reception  both  had  attended.  He  had 
conversed  with  her  a  little,  danced  with  her  once.  And 
now,  two  weeks  later,  he  sees  her  approaching  with  a 
young  lady  whom  he  surmises  is  her  daughter. 
"Why,  Mrs.  Blakely,  how  do  you  do!"  he  exclaims, 
rushing  forward  impulsively.  But,  Mrs.  Blakely,  accus- 
tomed to  the  highest  degree  of  courtesy  at  all  times, 
returns  his  greeting  coldly. 

And,  nodding  briefly,  she  passes  on — leaving  the  young 
man  angry  with  her,  but  angrier  at  himself  for  blunder- 
ing at  the  very  moment  he  wanted  most  to  create  a 
favorable  impression. 

DO  you  know  what  to  say  to  a 
woman  when  meeting  her  for  the 
first  time  after  an  introduction? 
Do  you  know  what  to  say  to  a 
woman  when  leaving  her  after  an  intro- 
duction? Would  you  say  "Good-bye,  I  am 
very  glad  to  have  met  you"?  Or,  if  she 
said  that  to  you,  how  would  you  answer? 

It  is  just  such  little  unexpected  situations 
like  these  that  take  us  oft  our  guard  and 
expose  us  to  sudden  embarrassments.   None 
of  us  like  to  do  the  wrong  thing,  the  incor- 
rect thing.     It  condemns  us  as  ill-bred.    It 
makes  us  ill  at  ease  when  we  should  be 
well  poised.     It  makes  us  self- 
conscious     and     uncomfortable 
when  we  should  be  calm,  self- 
possessed,     confident     of     our- 
selves. 

The  knowledge  of  what  to  do 
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of  others.     It  gives  an  ease  of  manner,  a 
certain    calm    dignity    and    self-possession 
that  people  recognize  and  respect. 

Do  You  Ever  Feel  


c%* 


That  You  Don't 
"Belong"? 

Perhaps  you 
have  been  to  a 
party  lately,  or  a 
dinner,  or  a  recep- 
tion of  some  kind. 
Were  you  entirely 
at  ease,  sure  of 
yourself,  confident 
that  you  would  not 
do  or  say  anything 
that  others  would 
recognize  as  ill- 
bred? 

Or  were  you  self- 
conscious,  afraid  of 
doing  or  saying  the 
wrong  thing,  con- 
stantly on  the  alert 
— never  wholly 
comfortable  for  a 
minute? 

Many  people  feel 
"alone"  in  a  crowd, 
out  of  place.  They 
do  not  know  how  to 
make  strangers  like 
them — how  to  cre- 
ate a  good  first  im- 
pression. When 
they  are  introduced 
they  do  not  know 
how  to  start  con- 
versation flowing 
smoothly  and  nat- 
urally. At  the  din- 
ner table  they  feel 


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constrained,  em- 
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Little  Blunders  That    Take 
Us  Off  Our  Guard 

There  are  so  many  problems  of  conduct 
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Photoplay  Magazine — Advertising  Section 


M ALLAN  DWAN  production- 


<5~~witk,  HoptzKampton,  SNita  9\faldi 
Gonmd  tNacjd,  &P  JOcuo  Cody 

From  the  play  by  Samuel  Shipman.     Adapted  by  John  Lynch 

The  lesson  of  "Lawful  Larceny"  is  a  lesson  for  every  married 
couple. 

Hope  Hampton  is  the  charming  young  wife  who  returns 
from  Europe  to  find  her  husband,  Conrad  Nagel,  snared  by 
another. 

To  fly  into  a  temper  will  avail  nothing.  To  get  him  back  by 
love-inspired  guile  and  diplomacy!  that  is  the  way  and  that  is 
the  excitement  of  the  photoplay. 

By  an  unlawful  larceny  had  he 
been  taken  from  her  by  Nita  Naldi, 
dangerous  siren  and  modern  Cleo- 
patra—  and  by  "lawful  larceny" 
she  attempts  recovery. 

Does  she  succeed? 

Don't  miss  seeing  this  great  pro- 
duction, made  by  the  director  of 
"Robin  Hood,"  the  last  word  in 
marvelous  settings,  gowns,  con- 
summate acting  and  thrilling  plot. 


th 

Annual 


A  Nation-wide  Celebration 

of  Great  Artistic  Advance 

in  Screen  Entertainment 

Paramount  Week  Sept.  2 — 8 

WithParamountWeekthegreatestmotion 
picture  season  the  world  ever  saw  gets  well 
under  way. 

After  years  of  experimentation  the  art  of 
the  screen  is  coming  to  perfection. 

The  year  just  past  has  been  one  of  extra- 
ordinary development.  A  single  incident 
has  been  the  advance  showing  by  Para- 
mount of  the  greatest  photoplay  ever  made, 
"The  Covered  Wagon." 

And  now  in  Paramount  Week  you  have 
the  opportunity  for  a  grand  review  of  1923's 
achievements  and  a  pre-view  of  the  great 
Paramount  Pictures  coming. 

Celebrate  Paramount  Week  at  your  own 
theatre  as  millions  have  during  five  previous 
annual  Paramount  Weeks. 

A  few  of  the  great  Paramount  Pictures 
of  the  Past  Season 


RODOLPH  VALENTINO  in  ' 
Niblo  Production. 


Blood  and  Sand."   A  Fred 


JACK  HOLT  in  "While  Satan  Sleeps."    A  Peter  B.  Kyne 
Special. 

CECIL  B.  DeMILLE'S  "Manslaughter,"  with 
Thomas  Meighan,  Leatrice  Joy  and  Lois  Wilson. 

"THE  OLD  HOMESTEAD,"  with  Theodore 
Roberts.    A  James  Cruze  Production. 

A  George  Fitzmaurice  Production,  "TO  HAVE 
AND  TO  HOLD,"  with  Betty  Compson  and  Bert 
Lytell. 

A  William   deMille   Production,   "CLARENCE," 
with  Wallace  Reid,  Agnes  Ayres  and  May  McAvoy. 
THOMAS  MEIGHAN  in  "  Back  Home  and  Broke." 
GLORIA  SW ANSON  in  "The  Im- 
possible   Mrs.  Bellew."    A  Sam  Wood 
i    JAM     l  Production. 

A  George  Fitzmaurice  Production, 
"KICK  IN,"  with  Betty  Compson 
and  Bert  Lytell. 


paramount 


Every  advertisement  In  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


aggggSg 


Photoplay  Magazine — Advertising  Section 


Paramount 
Week^ 


[continued] 

JACK  HOLT  in  "Making  a  Man."  A  Peter  B.  Kyne 
Special. 

CECIL  B.  DeMILLE'S  Production,  "Adam's  Rib,"  with 
Milton  Sills,  Elliott  Dexter,  Theodore  Kosloff,  Anna  Q. 
Nilsson  and  Pauline  Garon. 

AGNES  AYRES  in  "Racing  Hearts,"  with  Theodore 
Roberts  and  Richard  Dix. 

An  Allan  Dwan  Production,  "THE  GLIMPSES  OF  THE 
MOON,"  with  Bebe  Daniels  and  Nita  Naldi. 

POLA  NEGRI  in  A  George  Fitzmaurice  Production. 
"BELLA  DONNA."  Supported  by  Conway  Tearle,  Conrad 
Nagel  and  Lois  Wilson. 

A  William  deMille  Production,  "GRUMPY,"  with  May 
McAvoy,  Theodore  Roberts  and  Conrad  Nagel. 

GLORIA  SW ANSON  in  "Prodigal  Daughters"  A  Sam 
Wood  Production. 

A  George  Melford  Production,  "YOU  CAN'T  FOOL 
YOUR  WIFE,"  with  Leatrice  Joy,  Nita  Naldi,  Lewis  Stone 
and  Paul:ne  Garon. 

THOMAS  MEIGHAN  in  "The  Ne'er-Do-Well." 

A  Herbert  Brenon  Production,  "THE  RUSTLE  OF 
SILK,"  with  Betty  Compson  and  Conway  Tearle. 

BEBE  DANIELS  and  Antonio  Moreno  in  "THE  EX- 
CITERS." 

AGNES  AYRES  in  "The  Heart  Raider." 

A  William  deMille  Production,  "ONLY  38,"  with  Lois 
Wilson,  May  McAvoy,  George  Fawcett. 

A  Herbert  Brenon  Production,  "THE  WOMAN  WITH 
FOUR  FACES,"  with  Betty  Compson  and  Richard  Dix. 

"CHILDREN  OF  JAZZ,"  with  Theodore  Kosloff,  Ricarclo 
Cortez,  Robert  Cain  and  Eileen  Percy. 

JACK  HOLT  in  "A  Gentleman  of  Leisure." 

DOROTHY  DALTON  in  "The  Law  of  the  Lawless." 

THOMAS  MEIGHAN  in  "Homeward  Bound." 

A  few  of  the  great  Paramount  Pictures 
of  the  New  Season 

A  James  Cruze  Production,  " HOLLYWOOD,"  with  22 
real  stars  and  56  screen  celebrities. 

POLA  NEGRI  in  A  George  Fitzmaurice  Production, 
"THE  CHEAT,"  with  Jack  Holt,  supported  by  Charles 
deRoche. 

GLORIA  SW  ANSON  in  A  Sam  Wood  Production, "BLUE- 
BEARD'S EIGHTH  WIFE." 

"THE  PURPLE  HIGHWAY,"  with  Madge  Kennedy. 

A  William  deMille  Production,  "SPRING  MAGIC," 
with  Agnes  Ayres,  Jack  Holt,  Charles  deRoche,  Mary 
Astor    and   Robert  Agnew. 

A  James  Cruze  Production,  "RUGGLES 
OF  RED  GAP,"  with  Edward  Horton,  Ernest 
Torrence,  Lois  Wilson,  Fritzi  Ridgway. 
Charles  Ogle  and  Louise  Dresser. 

A  Zane  Grey  Production,  "  TO  THE 
LAST  MAN,"  with  Richard  Dix  and 
Lois  Wilson. 

A  George  Melford  Production,  "SA- 
LOMY  JANE,"  with  Jacqueline  Lo- 
gan, George  Fawcett,  Maurice  Flynn. 

GLORIA  SW  ANSON  in 
an  Allan  Dwan  Production, 
"Zaza." 

THOMAS  MEIGHAN  in 
George  Ade's  "All  Must 
Marry." 


Jeue  L  U^ky 
presents  a 


Mi     pTicnr.5  a 

af  Charles  Maigne, 
production  ° 

7k  Silent  Partner 

With  Leatnccjoy, 

Owen  Moore  &  Robert  Sdeson, 

From  the  story  by  Maximilian  Foster.     Screen  play  by  Sada  Cowan 

What  should  the  wife  of  a  Wall  Street  gambler 
do  who  seeks  to  save  him  from  ruin? 

Paramount  answers  this  question  with  "The  Silent 
Partner,"  a  new  and  terrifically  powerful  handling 
of  the  theme  of  love  versus  the  fever  for  gain. 

In  the  days  of  prosperity  and  golden  winnings,  the 
beautiful  young  wife,  Leatrice  Joy,  determines  to 
start  "gold-digging"  from  her  husband, Owen  Moore, 
and  build  a  reserve  unknown  to  him. 

But  how  to  look  as  though  she  is  spending  the 
thousands  he  gives  up,  that  is  the  question! 

How  to  make  a  $20  gown  or  a  $5  hat  or  a  paste 
necklace  look  like  ten  times  the  value?  She  does  this'- 

And  see  what  happens  when  the  crash  comes! 


■vf 


<pictur&s 


?;^^^:^g5^J^>^0^^ 


r  r^'Jy^j'^'^ 


Famous  Players-LaskyCorp 

ADOLPH  ZUKOP.-PRESIOENT 


When  you  writ*  to  advertisers  please  mention  Hlonil'l.AY  MAGAZINE 


- 


u 


Brief  Reviews  of  Current  Pictures 


ABYSMAL  BRUTE,  THE  —  Universal.  —  A 
woman-shy  young  man  with  a  wallop  in  his  right  list 
and  a  come-hither  in  his  eye,  played  by  Reginald 
Denny  in  a  way  both  manly  and  appealing.  Jack 
London  characters  faithfully  reproduced.  This  is  a 
picture  for  everybody.     (July.) 

ADAM  AND  EVA— Paramount-Cosmopolitan.— 
Marion  Davies  does  some  very  good  light  comedy 
work  as  a  spoiled  daughter  of  wealth.     (May.) 

ADAM'S  RIB— Paramount.— Cecil  de  Mille's 
latest — and  worst.  Started  out  to  be  an  epic  of  the 
flapper  and  wound  up  as  a  rhinestone-set  tale  of  the 
girl  who  sacrifices  her  reputation  to  save  her  mother. 
(May.) 

AFFAIRS  OF  LADY  HAMILTON,  THE— Hod- 
kinson. — Lady  Hamilton  comes  to  a  bad  finish,  but 
her  road  of  life  is  not  tedious  by  any  means.  Rather 
heavy  German  production.     Not  for  children.   (July.) 

ARE  YOU  A  FAILURE?— Prefned  Pictures  —A 
story  in  seven  reels  that  deserves  three.  It  may 
amuse  the  old  folks  and  children.  A  small  town 
seemingly  inhabited  entirely  by  actors.      (May) 

BACKBONE  —  Distinctive  Pictures.— Anything 
but  distinctive — just  average.  A  far-fetched  tale, 
ornately  mounted.      (May.) 

BAVU — Universal. — A  gory  tale  of  Bolshevic 
Russia,  decidedly  artificial.  This  doesn't  apply  to 
Wallace  Beery,  however,  the  double-dyed  villain. 
Flappers  may  like  the  ultra-heroic  Forrest  Stanley. 
(July.) 

BELLA  DONNA— Paramount.— Pola  Negri's  first 
American-made  picture  does  not  fit  her  as  well  as 
those  tailored  in  Berlin.  Pola  is  more  beautiful  but 
less  moving;  a  passion  flower  fashioned  into  a  poin- 
settia.     The  picture  is  thoroughly  artificial.     (June.) 

BOLTED  DOOR,  THE— Universal— Husband 
and  wife  have  a  quarrel,  a  fortune  hunter  threatens 
lo  break  up  what  little  domestic  happiness  is  left, 
but  virtue  triumphs  in  the  end.      (May.) 

BOSTON  BLACKIE— Pox.— The  inside  of  the 
world's  most  disagreeable  prison,  with  a  happy  end- 
ing that  arrives  just  in  time.     (August.) 

BRASS — Warner  Brothers. — Not  for  those  who 
read  the  novel  by  Norris.  A  story  which  doesn't 
dare  anything.  Harry  Myers  excellent  in  small  role. 
(June.) 

BRIGHT  SHAWL,  THE— First  National.— A 
pretty  play  of  distinct  atmospheric  charm,  a  tale  of 
Havana  intrigue  with  Cuban  strugglers  for  liberty  on 
one  side  and  soldiers  of  Spanish  oppression  on  the 
other.  Well  acted  by  Richard  Barthelmess,  Dorothy 
Gish,  Jetta  Goudal  and  William  Powell.      (July.) 

BUCKING  THE  BARRIER— Fox— Dustin  Far- 
num  beating  up  thugs  who  wouldst  thwart  him  from 
claiming  his  rightful  estates.     (June.) 

BURNING  WORDS— Universal.— The  Canadian 
Mounted,  and  a  trooper  who  gets  his  man.  This  time 
the  man  is  a  brother.     (August.) 

CAN  A  WOMAN  LOVE  TWICE?— F.  B.  O  — 

Apparently  she  can.     Ethel  Clayton,  as  the  harassed 
heroine  of  a  dull,  long-drawn  out  drama,  does.   (May.) 

CASEY  JONES,  JR.—  Educational.—  Two  reels  of 
good  fun  for  the  whole  family.  A  colored  porter  and 
a  goat  off  er  some  amusing  gags.     (May.) 

CHILDREN     OF     DUST—  First      National.— A 
it    little    story  of  old   Gramcrcy  Square,   but 
with  too  much  childish  love-making.     And  then,  at 
the  end,  the  war  is  dragged  in.     (August.) 

CORDELIA    THE    MAGNIFICENT— Metro  — 

High  society  with  everybody  blackmailing  everybody, 

•  \>n    the    heroine,    who    does    it    unconsciously,    of 

•  ouree.      Badly  adapted   story.      (July.) 


CRASHING     THROUGH— F.     B.     O— Not    so 

bad — not  so  good.   A  Harry  Carey  jumble  of  heroics. 

(June.) 

CRITICAL  AGE,  THE— Hodkinson.— Another 
Ralph  Connor  Glengarry  story,  well  told.  Lacking 
in  the  original  force  and  spiritual  element.    (July.) 

CROSSED  WIRES— Universal.— And  yet  another 
little  Cinderella.  She  prefers  sassity  to  the  switch- 
board, and  she  achieves  her  heart's  desire,  not  with- 
out some  heart-throbs  and  much  laughter.     (July.) 

DADDY — First  National. — A  shopworn  and  old 
fashioned  story  with  Jackie  Coogan  as  its  redeeming 
feature.     (May.) 

DEAD  GAME— Universal.— Hoot  Gibson  does 
some  hard  riding  and  fast  thinking.    (July.) 

DIVORCE— F.  B.  O—  Jane  Novak  is  so  beautiful, 
in  this,  that  nothing  else  matters.  Not  even  the  plot. 
(August.) 

DON  QUICKSHOT  OF  THE  RIO  GRANDE— 

Universal. — A  western  that  should  have  been  a  com- 
edy.    The  small  boy's  delight.     (August.) 


AS  a  special  service  to  its  readers, 
Photoplay  Magazine  inaug- 
urated this  department  of  tab- 
loid reviews,  presenting  in  brief  form 
critical  comments  upon  all  photoplays 
of  the  preceding  four  months. 

Photoplay  readers  find  this  depart- 
ment of  tremendous  help — for  it  is  an 
authoritative  and  accurate  summary, 
told  in  a  few  words,  of  all  current  film 
dramas. 

Photoplay  has  always  been  first 
and  foremost  in  its  film  reviews. 
However,  the  fact  that  most  photo- 
plays do  not  reach  the  great  majority 
of  the  country's  screen  theaters  until 
months  later,  has  been  a  manifest 
drawback.  This  department  over- 
comes this — and  shows  you  accurately 
and  concisely  how  to  save  your  mo- 
tion picture  time  and  money. 

You  can  determine  at  a  glance 
whether  or  not  your  promised  eve- 
ning's entertainment  is  worth  while. 
The  month  at  the  end  of  each  tabloid 
indicates  the  issue  of  Photoplay  in 
which  the  original  review  appeared. 


i.uvr.Kr.ij  WAt.u.Ti,  ■  iir, — Paramount. —  1  he 
biggest  picture  of  the  screen  year.  Real  pioneers 
lighting  their  tortuous  passage  across  the  plains 
and  mountains.  Recommended  to  everyone,  without 
reservations  A  Will  Hays  promise  made  good.  (May.) 


DOUBLE  -  DEALING  —  Universal.  —  A  stupid 
young  man  buys  property  of  a  confidence  man,  and 
of  course  the  property  assumes  a  great  value.  Other- 
wise how  could  it  all  end  so  happily?     (July.) 

ENEMIES  OF  WOMEN— Paramount-Cosmo- 
politan.— An  Ibanez  romance  filmed  in  Paris  and 
Monte  Carlo,  decorated  by  Urban,  dressed  by  Poiret 
and  girled  by  Ziegfeld.  A  million  dollars'  worth  of 
beauty,  including  Alma  Rubens,  and  superb  acting 
by  Lionel  Barrymore.     (June.) 

EXCITERS,  THE— Paramount.— A  jazzy  little 
comedy-melodrama  with  plenty  of  action  and  speed. 
Tony  Moreno  and  Bebe  Daniels  at  their  best.  Good 
entertainment.      (August.) 

EX-KAISER  IN  EXILE,  THE— Hodkinson.— 
The  Ex-Kaiser  striding  through  many  acres  of  pleas- 
ant woodland  in  Holland  acting  like  a  caged  lion. 
Wilhelm  looks  quite  healthy — too  healthv  to  make 
the  film  enjoyable.     (May.) 


FAMOUS  MRS.  FAIR,  THE— Metro— "Arise 
Fred  Niblo,  Photoplay  dubs  you  a  directorial  knight 
of  the  screen."  A  perfect  motion  picture  and  a  per- 
fect cast.     You  can't  afford  to  miss  this.     (May.) 

FOG  BOUND— Paramount.— One  of  the  formulas. 
Innocent  man  accused — lovely  lady  saves  him.  Good 
cast,  fine  photography,  Palm  Beach  settings,  and 
conventional  ending.      (August.) 

FOOLS  AND  RICHES— Universal.— The  hand- 
some hero  and  his  money  are  soon  parted,  but  being 
a  hero  he  wins  another  fortune,  and  being  handsome 
wins  the  girl.      (July.) 

FOUR  ORPHANS,  THE— Hodkinson—  A  com- 
edy. Not  the  funniest  ever  made,  but  almost  amusing 
enough.     Charles  Murray  is  the  real  star.      (May.) 

FOURTH    MUSKETEER,     THE— F.    B.    O  — 

Johnnie  Walker  at  his  best  as  a  young  prize-fighter 
who  gives  up  certain  championship  for  the  little  wife. 
(June.) 

GARRISON'S  FINISH— United  Artists.— The 
old,  hackneyed  race  track  story,  with  the  Southern 
colonel,  the  doped  horse  'n'  everything.  Jack  Pick- 
ford  has  the  lead.     Race  scenes  the  best.     (August.) 

GIRL  I  LOVED,  THE— United  Artists.— We 
recommend  this  without  a  single  qualification  to  the 
entire  family.  It  deserves  your  attention.  A 
fragile  wistful  little  lyric  inspired  by  J.  Whitcomb 
Riley's  poem  of  a  country  boy  who  loves  his  foster 
sister.  Ray  gives  one  of  the  best  performances  of 
the  screen  year,  superb  in  its  humanness  and  tender- 
ness.    We  cannot  recommend  it  too  highly.      (July.) 

GIRL  OF  THE  GOLDEN  WEST,  THE— First 

National. — Another  return  engagement,  but  the  fine 
old  story  marred  by  difficulties  of  casting.  Warren 
Kerrigan  and  Sylvia   Breamer  the  leads.     (August.) 

GIRL  WHO  CAME  BACK,  THE— Preferred  — 

The  dear  girl  doesn't  come  back,  really,  but  she  does 
get  diamonds  and  two  husbands.  So  everybody's 
happy,  unless  possibly  the  audience.     (July.) 

GLIMPSES  OF  THE  MOON,  THE— Paramount. 
— Beautiful  sets,  beautiful  gowns  and  oh,  such 
beautiful  ladies!  In  a  word,  an  eyeful.  But  nothing 
much  for  the  heart.     (June.) 

GO-GETTER,  THE— Paramount-Cosmopolitan. 
— The  Go-Getter  has  lost  much  of  his  pep  passing 
from  magazine  to  screen,  but  it  is  a  pleasant,  well- 
round  narrative  for  a'  that.      (July.) 

GOSSIP— Universal.— Gladys  Walton  ends  a 
great  strike  and  marries  the  mill  owner — all  because 
she  is  a  sweet,  innocent  little  girl  who  knows  nothing 
of  life,  or  the  conventions.     (May.) 

GRUB  STAKE,  THE— American  Releasing  Cor- 
poration.— Fifty-seven  varieties  of  woodland  crea- 
tures, ranging  in  styles  from  bears  to  porcupines. 
Also  Nell  Shipman.    A  unique  forest  picture.   (June.) 

GRUMPY — Paramount. — A  superb  character- 
ization by  Theodore  Roberts.     (June.) 

HEART  RAIDER,  THE— Paramount.— Jazzy 
and  often  amusing,  with  Agnes  Ayres  setting  the 
pace.  An  unbelievable  story,  but  set  in  beautiful 
surroundings.     (August.) 

HER  FATAL  MILLIONS— Metro.— A  swiftly 
mining  comedy  of  a  girl's  fibs — Viola  Dana's — to  a 
suitor  whom  she  believes    faithless.      (July.) 

ISLE  OF  LOST  SHIPS,  THE— First  National  — 
A  fantastic  romance  of  derelicts  in  the  Sargasso  Sea, 
screened  with  imagination  by  Tourneur.     (June.) 

JAVA  HEAD — Paramount. — From  Hergesheimer's 
novel.  Misses  much,  but,  even  so,  a  screen  drama 
well  above  the  average.      (May.) 

JAZZMANIA — Metro. — Another  generous  help- 
ing of  Mae  Murray  marshmallow  screen  fare.  (May.) 

LEOPARDESS,  THE— Paramount.— Montague 
Love  tries  taming  Alice  Brady,  a  wild  gal  of  the  South 
Seas.  He  also  tries  to  tame  a  leopardess — and  gets 
tamed  most  effectively.  The  leopardess  should  have 
ended  matters  in  the  first  reel.      (June.) 


10 


Photoplay  Magazine — Advertising  Section 


i  I 


Wonderful  32-Piece  Aluminum  Set  con- 
sists of  2  Bread  Pans;  Doughnut  Cutter;  2 
Loose  Bottom  Jelly  Cake  Pans;  Combina- 
tion Teakettle  and  Rice  Boiler  with  lid; 
Saucepan  Set  with  lid;  Dipper;  Colander; 
Measuring  Cup;  Percolator;  2  Pie  Pans; 
Complete  Castor  Set;  Tea  or  Coffee 
Strainer;  Fry  Pan:  also  cooker  set  of  5 
pieces— makes  11  separate  utensil  combi- 
nations: Preserving  Kettle;  Convex  Kettle; 
Combination  Cooker;  Casserole;  Pudding 
Pan;  Tubed  Cake  Pan;  Colander;  Roaster; 
Corn  Popper;  Steamer  Set;  Double  Boiler. 


No  Money  Down 


Not  a  penny  now.  Just  mail  the  coupon  and  Hartman 
will  send  you  this  splendid  complete  32-piece  Aluminum 
Cooking  Set,  and  also  the  Free  10-piece  Combination 
Kitchen  Set.  When  the  goods  arrive  make  first  payment 
of  only  $2.00  on  the  Aluminum  Set.    Pay  nothing  for  the 


Kitchen  Set— it  is  FREE.  Use  both  sets  SO  days  on  Free 
Trial,  and  if  not  more  than  satisfied,  send  them  back  and  we 
will  refund  your  money  and  pay  transportation  both  ways. 
If  you  keep  them,  pay  for  the  Aluminum  Set,  a  little  every 
month.    Keep  the  Kitchen  Set  as  a  gift  from   Hartman. 


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This  is  Hartman 's  famous  special,  selected  set  of  heavy 
gauge  Aluminum  Ware — a  complete  cooking  outfit,  light  to 
handle,  easy  to  clean,  always  bright  as  silver.  Will  never 
chip,  crack  or  rust.  So  durable  that  we  guarantee  it  for  life. 
32  utensils — everything  you  need  for  baking,  boiling,  roast- 
ing, frying.  Just  read  the  list  above.  You  want  and  need 
everything  there.  Your  kitchen  is  not  complete  without  them. 
You  really  can't  appreciate  this  splendid  set  until  you  see 
and  use  it.  Then  you  will  realize  what  a  wonderful  bargain  it 
is.  And  without  a  penny's  cost — absolutely  free— you  get  a 
Combination  Kitchen  Set  which  gives  you  lOutensils  with  white 
handles— all  hung  in  a  row— where  you  can  reach  them  easily. 

l\lf»C»flm/   *M  \f*ZH*  tn  PsiW/  Hartman  givea  the  world's 

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world's  greatest  values  in  dependable  merchandise,  and  this  offer  proves  it. 

You  pay  only  $2.00  and  postage  on  arrival  (this  on  the  Aluminum  Set— not  a  penny  to  pay  at  any 

time  on  the  Kitchen  Set).     Then,  if  after  30  days'  trial  you  decide  to  keep  it,  pay  a  little  every 

month.    Take  nearly  a  year  to  pay. 

Order  by  No.  417EEMA7.  Price  for  Aluminum  Set,  $18.95.      No  money  down.   $2.00 
■nd  postage  on  arrival.    Balance  $2.00  Monthly.    10-Piece  Kitchen  Set  Is  FREE. 

Don't  hesitate.    Send  at  once,  while  this  offer  holds  good.    Not  a 
penny 's  risk.  Order  NOW.  while  you  can  get  the  Kitchen  Set  Free. 


Mai I  the  Coupon 


HARTMAN 


Furniture  &  Carpet  Co. 

Dept.5528  CHICAGO 

Copyright.  1823.  br  Harbnao'a.  Cblcaco 


rnFF  BARGAIN  CATALOG 

mtt       <'  FREE  GIFTS 


This  great  316-page  book  offers 
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Wonderful  Gifts 

Catalog;  explains  how  you  can  get 
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cloths,Napkins,  etc.,  free  with 

purchases.   Send  for  it  today. 

"Let  Hartman  Feather  YOUR  Nest" 


HARTMAN  FURNn 

Send  the 

32-Piece  Aluminum  Cooking  Set  No.  417EEMA7,  Price  $18.96 

and  10-Piece  Kitchen  Set.  Will  pay  $2  and  postage  on  the 
Aluminum  Set  on  arrival.  Kitchen  Set  is  Free.  I  am  to 
have  30  days'  free  trial.  If  not  satisfied,  I  will  ship  both 
sets  back.  If  I  keep  them,  I  will  pay  you  $2.00  monthly 
until  the  price  of  the  Aluminum  Set, $18.95  is  paid.  Title  re- 
mains with  you  until  final  payment  is  made. 

Name 

Occupation 

R.  F.  D.,  Box  No. 

or  Street  and  No 

Post  Office State 

dt  ■hipping  point  >■  different  from  your  post  office,  fill  io  lin«  below.) 


Dept.  5528        Chicago,  III. 


|  Send  shipment  to  . 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


12 


Photoplay  Magazine — Advertising  Section 


make 


BIGGER 


Tl  70ULD  you  like  to   have  a  better 
♦  »  job?  Would  you  like  to  own  a  busi- 
ness of  your  own?  Would  you  like  to  be 

getting  a  bigger  income?  Would  you  use  a  little 
of  your  spare  time  each  day — right  at  home — for 
a  few  months — to  make  your  dreams  come  true? 
Referring  to  a  set  of  your  books  while  on  the 
job — reading  them  in  your  spare  time  at  home — 
will  make  your  dreams  come  true.  These  books 
have  done  this  for  over  200,000  other  ambitious 
men,  and  they  will  do  it  for  you.  But  you  have 
got  to  act  to  realize  success  and  your  first  step 
should  be  to  send  in  the  Free  Trial  Coupon. 

Free  Consulting  Membership 

A  resident  consulting  staff  of  from  15  to  20 
practical  experts  is  waiting  to  solve  for  you  any 
difficulty  that  you  may  have.  A  letter  or  a  wire 
to  the  American  Technical  Society  will  bring  you 
an  immediate  answer  and  the  solution  to  your 
problems.  This  advisory  staff  of  practical  men 
plus  your  working  and  reference  library  will  en- 
able you  to  handle  successfully  any  job  in  your 
line.  These  men  know  all  the  latest  methods 
and  the  newest  and  best  ways  of  doing  things. 
Let  this  pay-raising  consulting  staff  be  YOUR 
SILENT  PARTNER.  Use  this  service  daily  if 
necessary.  This  free  consulting  membership  offer 
is  good  for  a  limited  lime  only  and  can  be  with- 
drawn without  notice. 

Use  Books  Free  for  One  Week — Send  No  Money 

— just  fill  out  t lie  coupon.    After  you  receive  the  full 

set  of  books,  express  collect,  read  them  over  and  test 

them  out  for  seven  days. 


Reference  Books  That  M»ke 

Happy   Days  of  Pay  Days. 

Select  Your  Own  Line  From 

This  List  For  Week's 

Free  Use 


6  vols. Carpentry&  Con- 
tracting, was  (37.60, 
DOW  ...  £19.80 
12  vols.  American  Law 
&  Practice  (including- 
free  reading  course 
and  250  pane  book  of 
standard  legal  forma) 
was  $97.50,  now    .        49.80 

8  vols.  Applied  Electri- 
city, was  $60.00,  now  29.80 

6  vols.  Auto  Engineer- 
ing, was  {45.00,  now  21.80 

9  vols.  Civil  Engineer- 
ing, was  $67.50,  now  34.80 

8  vols.  Business  Man- 
agement, was  $52.50, 
now  .        .        .        29.80 

7  vols.  Steam  and  Gas 
Engineering,  was 
$52.50,  now   . 

4  vols.  Sanitation,  Heat- 
ing ft  Ventilating, was 
$30.00,  uow    .         •        14.80 

4  vols.  Fire  Prevention 
ft  Inn  ranee,  was 
$30.00,  now     .        -        14.80 

6  vols.  Modern  Machine 
Shop  Practice,  was 
$45.00,  now    .         .        21.80 

4  vols.  Telephone  &  Tel- 
egraphy, was  $30.00, 
dow  .         .         .         14.80 

4  vols.  Drawing,  was 
$30.00,  now    .         .         14.80 


If  you  don't  want  them, 
send  them  back  at  our  ex- 
pense. If  you  decide  they 
will  do  for  you  what  they 
have  done  for  more  than 
200,000  ethers,  pay  $2.80 
within  one  week  and  $3 
each  month  thereafter  un- 
til the  special  price  is 
paid.  This  amounts  to 
only  ten  cents  a  day.  Mail 
coupon  NOW  if  you  want 
a  bigger,  better  job  at 
higher  wages. 

Here's  your  opportunity, 
if  you  want  to  EARN 
MORE  MONEY.  Re- 
member, we  are  taking  all 
t  lie  chances —  you  pay 
NOTHING  unless  you 
are  absolutely  eager  to 
after  seeing  the  books. 
Isn't  this  about  the  fair- 
est proposition  you  ever 
saw  in  print. 

American  Technical  Society 


24.80    Depl.  X687,  Chicago,  U.  S.  A. 


©A.T.S. 
1923 


AMERICAN  TECHNICAL  SOCIETY 
Dept.  X687,  Chicago 

Please  send  me  a  set  of 

for  seven  days'  FREE  EXAMINATION,  shipping  charges  col- 
1  '  1  will  examine  these  books  thoroughly,  and  if  satisfied, 
will  send  $2.80  within  seven  days  and  $3  a  month  until  I  have 
paid  the  special  price  of  $  .  .  .  If  I  decide  not  to  keep  the 
books,  I  will  return  them  within  one  week  at  your  expense.  It 
b|  understood  that  If  I  kMp  the  books  I  am  entitled  to  a 
FREE  Consulting  Membership  In  the , 

division  of  the  Society. 


Name 

Address. 
Reference. 


[Please  fill  out  all  lines,  give  local  merchant,  bar 
employer  an  reference  ] 


LION'S  MOUSE,  THE— Hodkinson.— Blackmail, 
robbery,  hairbreadth  escapes,  the  papers  and  the 
poils!     But  entertaining  tor  a' that.      (June.) 

LITTLE  CHURCH  AROUND  THE  CORNER, 

THE — Warner  Brothers. — -A  situation  after  the 
manner  of  "The  Miracle  Man,"  with  a  wealthy  mine 
owner,  a  mine  disaster  and  a  minister.     (June.) 

LOST  AND  FOUND  —  Goldwyn.  —  Hollywood 
hokum  dropped  in  the  South  Seas.  A  beautiful  back- 
ground and  good  players  wasted.     (June.) 

LOVEBOUND— Fox.— A  well-knit,  consistent 
story,  with  strong  climaxes,  of  a  district  attorney  who 
falls  in  love  with  his  secretary.  The  girl's  father  is  a 
jewel  thief,  and  the  conflict  between  her  loyalty  to 
father  and  love  for  prosecutor  is  well-developed. 
Shirley  Mason  draws  sympathy.     (July.) 

MAD  LOVE — Goldwyn. — Pola  Negri's  last  picture 
in  Germany.  They  have  changed  her  many  lovers 
to   husbands  in   the   American  titles.     (May.) 

MADNESS  OF  YOUTH— Fox.— An  engaging 
crook  enters  a  home  to  rob  a  safe,  meets  the  daughter 
of  his  victim,  etc.  Marriage  and  honor  in  the  end. 
John  Gilbert  is  sincere  and  with  Billie  Dove  makes 
the  affair  almost  plausible.      (July.) 

MAIN  "TREET— Warner  Brothers.— A  difficult 
story  to  screen  and,  therefore,  not  an  entirely  satis- 
factory picture.  Starts  off  well,  but  slumps  at  the 
end.  Florence  Vidor  the  great  redeeming  feature. 
(A  ugust.) 

MAN  FROM  GLENGARRY,  THE— Hodkinson. 
— Ralph  Connor's  erstwhile  best-seller  has  suffered 
in  the  screening,  but  the  logging  scenes  are  fine  and 
t lie  Canadian  landscapes  impressive.     (June.) 

MAN    NEXT    DOOR,    THE— Vitagraph.— Not 

good.  Story  is  illogical,  and  acting  and  direction  both 
below  standard.     A  dog  wins  the  honors.     (August.) 

MAN  OF  ACTION,  A— First  National.— Likable 
Douglas  MacLean  as  a  society  man  playing  a  crook. 
Interesting,  but  incongruous.  Perhaps,  some  day, 
MacLean  will  get  a  real  story.  Then,  look  out. 
(August.) 

MARK     OF     THE      BEAST,     THE— Dixon  — 

Thomas  Dixon  wrote,  cast  and  directed  this  as  a 
challenge  to  "machine-made  pictures."  The  ma- 
chine wins.     (August.) 

MARY  OF  THE  MOVIES— F.  B.  O—  Again  the 
Hollywood  stars  trailing  by  in  a  story  of  a  screen- 
struck  girl.  That  is  the  only  interest.  The  story  is 
weak.     (August.) 

MASTERS  OF  MEN— Vitagraph.— Well-done 
story  of  the  Spanish-American  war.  Cullen  Landis 
fine.  Earle  Williams,  Alice  Calhoun  and  Wanda 
Hawley  in  the  cast.     (June.) 

M ICHAEL  O'HALLORAN  —  Hodkinson.  —  The 

too-sweet  story  of  a  Chesterfieldian  street  urchin, 
who  shows  a  lot  of  rich  folk  how  to  behave.   (August.) 

MIDNIGHT  GUEST,  THE  —  Universal.  —  A 
young  lady  thief  who  reforms.  Not  quite  for 
children.     (May.) 

MR.    BILLINGS   SPENDS   HIS   DIME— Para- 
mount.— Is   bullet-proof  farce  and  one  of  the   best 
things  of  its  kind  in  a  long  time.     (May.) 
■r 

MODERN  MARRIAGE  —  American  Releasing 
Corporation. — The  team  of  Beverly  Bayne  and 
Francis  X.  Bushman  return  in  a  commonplace  story 
smoothly  screened.     (June.) 

NE'ER-DO-WELL,  THE— Paramount.  —  Not 
altogether  successful,  nor  altogether  uninteresting, 
for  Thomas  Meighan  is  in  it.    Old-fashioned.    (July.) 

NOBODY'S  BRIDE— Universal.— A  runaway 
bride,  a  down-and-out  suitor  of  other  days,  a  bag 
of  jewels,  a  band  of  crooks,  etc.,  etc.     (June.) 

NOISE  IN  NEWBORO.  A— Metro.— Cinderella  of 
the  small  town  goes  to  the  city  and  comes  home  rich. 
Viola  Dana  gingers  up  this  weak  concoction.     (July.) 

NTH  COMMANDMENT,  THE  — Paramount- 
Cosmopolitan. — The  brave  little  girl  struggles  to 
maintain  her  home  when  her  husband  falls  desperate- 
ly ill.     The  human  note  is  missing.      (July.) 

OLD  SWEETHEART  OF  MINE.  AN— Metro.— 

J,  Whitcomb  Riley's  poem  screened  with  considerable 
charm  and  touches  of  melodrama.      (July. ) 

ONLY  38 — Paramount. — A  delightful  handling  by 
William  de  Mille  of  a  most  appealing  story.  Lois 
Wilson's  role  fits  her  admirably,  and  May  McAvoy  is 
a  great  help.     (August.) 

OTHELLO— Ben  Blumenthal.— A  German  adap- 
tation of  the  tragedy  directed  by  a  Russian,  in. which 
Emil  Tannings,  is  a  German  Moor.     (  Way  I 

OUR  GANG  COMEDIES— Pathe  —  One  hundred 
it  kid  stuff — for  the  whole  family.   Don't  miss 
Little  Farina,  age  two,  colored.     (June.) 

PENROD  AND  SAM— First  National.— One  of 
the  entertainment  m-m^  of  the  month.  Real  boys 
with  a  story  bandied  by  William  Baudine,  whore- 
members  that  he  was  once  a  boy.  Don't  miss  it  it 
you  enjoy  kids.     {August.) 


POP  TUTTLE'S  POLECAT  PLOT— F.  B.  O  — 

Fashioned  after  the  Fontaine  Fox-Toonerville  Trolley 
type  of  cartoon  humor.     (May.) 

PRISONER,  THE— Universal.— An  extravagant 
plot  with  Herbert  Rawlinson  as  the  heavy  lover  who 
saves  a  little  blonde  from  an  unfortunate  marriage. 

(May.) 

PRODIGAL     DAUGHTERS  —  Paramount.  — 

Another  tirade  against  the  jazz  babies  of  1923.  ■  This 
time  it  is  adapted  to  the  girl  who  leaves  the  old  home- 
stead only  to  return  in  the  snowstorm  of  Christmas- 
time.     (July. ) 

PRODIGAL  SON,  THE—  Stoll  Film  Corp. — 
Steeped  in  the  gloom  of  church  yards  and  death- 
beds, lost  loves  and  debts.      (July.) 

QUEEN  OF  SIN,  THE— Not  sinful  but  awful. 
The  queen's  sin  is  weight.     (June.) 

QUICKSANDS— American  Releasing  Corpora- 
tion.— Drug  smuggling  across  the  Mexican  border  is 
stopped  by  Lt.  Richard  Dix  and  Helene  Chad  wick 
of  the  Secret  Service.      (June.) 

RACING  HEARTS  —  Paramount.  —  Unless  the 
auto  stuff  has  been  worn  threadbare  with  you,  it  may 
entertain  you.  To  us  the  motor  seems  to  miss.  (May.) 

RAGGED  EDGE,  THE— Goldwyn.— A  Harold 
McGrath  romance,  with  a  lot  of  new  blood  in  the  cast 
From  China  to  the  South  Seas.     (August.) 

RAILROADED— Universal.— A  lesson-  in  how 
wayward  sons  should,  and  should  not,  be  disciplined. 
Love  finds  a  way.     (August.) 

REMITTANCE  WOMAN.  THE— F.  B.  O.— Ethel 
Clayton's  loveliness  shines  out  from  the  dim  and 
mystic  East,  where  Ethel  gains  a  sacred  vase  and 
nearly  loses  her  life.      (July.)  j 

RICE  AND  OLD  SHOES— F.  B.  O—  A  comedy  of 
the  honeymoon,  with  all  the  old  situations  worked 
overtime.     (August.) 

ROD  AND  GUN  SERIES— Hodkinson.— The 
wealth  of  detail  and  the  excellent  photography  don't 
quite  compensate  for  the  distaste  of  such  utter 
destruction  of  ducks,  geese,  quail  and  fish.     (May.) 

RUSTLE  OF  SILK,  THE— Paramount.— The 
triangle  of  a  British  statesman,  his  unfaithful  wife 
and  an  adoring  lady's  maid,  who  loves  the  statesman 
from  afar,  isn't  much  of  drama.  But  told  with  fine 
taste  and  discretion.  Betty  Compson.  Anna  Q. 
Nilsson  and  Conway  Tearle  excellent.      (July.) 

SAFETY  LAST— Pathe.— Harold  Lloyd's  best- 
seven  reels  that  speed  like  two.  Prepare  for  laughter, 
shrieks  and  general  hysteria.     (June.) 

SCARS  OF  JEALOUSY— First  National.— See 
"Poor  Men's  Wives."     Ditto.     (May.) 

SHADOWS— Preferred  Pictures.— An  idea  of  deli- 
cacy and  charm  has  been  translated  with  great  care 
to  the  screen  and  the  result  is  a  good  picture.  Tom 
Forman's  direction  of  Wilbur  Daniel  Steele's  prize 
story  "Ching,  Ching,  Chinaman"  is  as  inspired  as 
possible  in  view  of  the  fact  that  there  are  censors. 
The  central  figure,  the  Oriental  laundryman,  remark- 
ably acted  by  Lon  Chaney,  is  a  fine  and  true  con- 
ception.   (January.) 

SHOCK,  THE— Universal.— Another  hideously 
clever  characterization  by  Lon  Chaney  as  a  cripple  of 
the  underworld.  The  miracle  idea  is  brought  in 
again.  Strong,  but  unpleasant — and,  of  course,  with 
a  happy  ending.      (August.) 

SINGLE  HANDED— Universal.— Hoot  Gibson  as 

an  eccentric  musician  who  discovers  a  buried  treasure. 
Hoot's  better  at  handling  bosses.      (June.) 

SIXTY  CENTS  AN  HOUR— Paramount.— An 
ambitious  soda  clerk  plans  to  marry  the  daughter  of 
the  bank  president,  and  go  into  business — all  on 
seven-fifty  a  week.     A  riot  of  laughter.      (July.) 

SLANDER  THE  WOMAN— First  National  — 
And  still  the  formula!  Beautiful  heroine,  wrongfully 
accused,  goes  to  the  Frozen  North.  There,  in  the 
great,  open  spaces,  things  happen.  Mostly,  good 
photography.     (August.) 

SNOW  BRIDE.  THE— Paramount.— A  forced  and 
artificial  story  of  life  in  a  Canadian  village.  Alice 
Brady,  even,  fails  to  register.     (August.) 

SNOWDRIFT— Fox.— A  cooling  Summer  picture, 
with  lots  of  ice  and  snow.  A  little  waif,  missionaries, 
Indians,  impossible  happenings.  Marries  a  reformed 
gambler  for  the  fade-out.     (August.) 

SOUL  OF  THE  BEAST— Metro.— Cinderella 
elopes  with  an  elephant.  Hard  time  has  Cinderella, 
but  all  ends  well,  even  for  friend  elephant.      (July.) 

SOULS  FOR  SALE— Goldwyn.— A  Cook's  tour 
of  the  Hollywood  studios.  A  false  and  trivial  story, 
but  it  lakes  you  behind  the  camera  and  is  very  enter- 
taining.    (June.) 

SPOILERS,  THE— Goldwyn.— A  new  version  of 
the  Rex  Beach  Alaskan  romance,  with  a  capital  cast. 
As  thrilling  as  ever.  Milton  Sills  and  Noah  Beery 
stage  a  realistic  fight,  and  Anna  Nilsson  is  excellent  as 
the  dance  hall  girl.     (August.) 

STEPPING  FAST— Fox.— Tom  Mix  mixes  with 
desperadoes.  He  saves  a  girl  from  the  rascal-  after 
a  trip  to  China,  The  girl  says  "yes."     (July.) 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  13  guaranteed. 


Photoplay  Magazine — Advertising  Section 


J3 


STORMSWEPT— F.  B.  O.— Wallace  Beery  trying 
to  be  a  successor  to  Rodolph  Valentino.  Not  for 
children — and  we're  all  children  to  some  extent!  (May.) 

SUNSHINE  TRAIL,  THE— First  National.— The 
story  of  a  nice  young  man  who  wants  to  spread  sun- 
shine everywhere  but  gets  under  a  cloud  in  his  own 
home  town.     (June.) 

SUZANNA— Allied  Producers.— Mack  Sennett 
tries  plot  instead  of  pies  without  so  much  success,  but 
Mabel  Normand  stirs  in  some  fine  humor.  Early 
California,  missions,  Spaniards — and  Mabel.    (June.) 

TEMPTATION— C.  B.  C.  Film  Sales  Corp.— 
Original  in  that  the  couple  who  are  struggling  un- 
happily under  the  weight  of  their  millions  do  not  lose 
the  bankroll  and  live  forever  in  a  cottage.      (July.) 

THREE  JUMPS  AHEAD— Fox— Tom  Mix  and 
his  horse  Tony  leap  a  chasm  and  give  you  an  hour 
of    Western    thrill    with    love   interest.     (Ju"e-) 

TIGER'S  CLAW— Paramount.— Jack  Holt  goes 
to  India,  gets  bit  by  a  tiger,  married  to  half-caste, 
and  mixed  up  in  poison  plots.     (June.) 

TOWN  SCANDAL,  THE— Universal.— Gladys 
Walton  is  a  chorus  girl  who  runs  out  of  a  job  and  goes 
home  to  write  her  memoirs  for  the  local  gazette.  Of 
course  the  poor  girl's  misunderstood.     (June.) 

TRAILING     AFRICAN     WILD     ANIMALS— 

Metro. — This  Martin  Johnson  picture  is  the  best  of 
its  kind.  The  best  animal  close-ups  ever  made,  and 
some  tremendous  thrills.      (July.) 

TRAIL   OF  THE  LONESOME   PINE,   THE— 

Paramount. — Mountaineers,  moonshiners,  Minter 
and  Moreno.  Also  Ernest  Torrence.  The  players 
are  the  thing.     (June.) 

TRIFLING  WITH  HONOR— Universal.— The 
story  of  a  home-run  king,  resembling  Babe  Ruth, 
who  is  the  idol  of  the  small  boys.  Intensely  dramatic 
and  worthy.      (July.) 

TRIMMED  IN  SCARLET— Universal.— Char- 
'acters  displaying  their  lack  of  sense  in  a  way  that 
may  earn  your  pity  but  not  your  sympathy.     (June.) 

VANITY  FAIR — Goldwyn. — Hugo  Ballin's  work- 
manlike visualization  of  Thackeray's  novel.  Not 
brilliant,  but  adequate.     (June.) 

VENGEANCE  OF  THE  DEEP— American  Re- 
leasing Corp. — Sharks,  devil  crabs,  sea  weed  and 
,  treasure  chests  make  the  under-sea  pictures  inter- 
esting and  thrilling.  But  the  actors  on  dry  land  are 
not  so  interesting.     (July.) 

WAGGIN'  TALE,  A— F.  B.  O.— Sorry  to  say  that 
a  clever  dog  actor  takes  all  the  honors  away  from  the» 
Carter  De  Havens.     (May.) 

WESTBOUND  LIMITED— -F.  B.  O.— A  homely, 
sympathetic  tale  built  about  the  railroad  and  its  men. 
A  love  interest,  too — though  hardly  necessary.    (July.) 

WHAT  WIVES  WANT— Universal.— After  many 
reels  the  husband  realizes  that  all  business  and  no 
love  will  wreck  any  marriage.  You  probably  will 
realize  it  from  the  first.     (July.) 

WHERE  THE  PAVEMENT  ENDS— Metro.— 
Ramon  Novarro  (girls,  don't  miss  him)  and  Alice 
Terry  in  what  seems  to  us  Rex  Ingram's  best  picture. 
|  Recommended.     (May.) 

WHITE  FLOWER,  THE— Paramount.— Hawaii 
and  Betty  Compson  are  alluring.  Nothing  else 
matters  if  you  like  them.     And  who  doesn't?   (June.) 

WHITE  ROSE,  THE— United  Artists.— D.  W. 
Griffith's  latest,  bringing  Mae  Marsh  back  to  the 
screen.  The  star's  playing  is  wonderful.  So  are  the 
sets  and  photography.  The  story  is  not  so  much. 
Ivor  Novello,  Mr.  Griffith's  new  leading  man,  is 
highly  decorative.      (August.) 

WITHIN  THE  LAW— First  National.— An  ex- 
pensive production  with  big  names,  but  lacking 
inspiration  and  vitality.  Norma  Talmadge  seems 
afraid  to  act.  The  best  work  is  that  of  Lew  Cody  as 
the  crook.     (July.) 

WOMAN  OF  BRONZE,  THE— Metro.— Clara 
Kimball  Young  as  the  wife,  who  after  disillusionment 
and  anguish  proves  to  be  the  ideal  woman  for  her 
husband.     (June.) 

YOU  ARE  GUILTY— Mastodon  Films— Medi- 
ocrity with  a  distinguished  cast.     (June.) 

YOU  CAN'T  FOOL  YOUR  WIFE— Paramount. 
— Good  money  and  players  wasted  upon  an  absurd 
story.  Again  the  husband  on  the  edge  of  the  restless 
forties,  the  neglected  wife  and  the  regulation  vampire. 
(July.) 

YOUR  FRIEND  AND  MINE— Metro.— Really 
good,  but  slightly  silly.  The  wife  is  too  trusting,  the 
villain  too  bad,  the  ruined  girl  too  resigned.     (May.) 


TT  seems  that  somebody  once  suggested  to  an 
•■^-aspiring  film  producer  that  "The  Hunchback 
of  Notre  Dame"  would  make  a  good  picture. 
"Yes,"  replied  the  aspiring  film  producer, 
"maybe,  but  we  don't  want  no  football 
stories." — Morning  Telegraph. 


PREFERRED  PICTURES 


V 


,Z 


•» 


: 


' 


A  Scene  from 
"The  Broken 


(JJJcwJactorin  cMotion  ^pictures 


Preferred  Pictures,  in  one  short  year,  has 
become  an  outstanding  factor  in  the  pro- 
duction and  presentation  of  successful 
motion  pictures. 

PREFERRED  PICTURES  was  organized 
and  developed  by  men,  young  in  years, 
but  veterans  in  experience,  whose  recog- 
nized ability  was  such  as  to  attract  directors, 
writers  and  stars  of  the  first  magnitude. 

Directing  Preferred  Pictures  are 

GASNIER        TOM  FORMAN 

and  VICTOR  L.  SCHERTZINGER 

These  men  have  risen  to  the  top  because 
they  know  how  to  put  entertainment  on  the 
screen. 

Contributing  their  talents  are  stars  who  have 
brought  pleasure  to  millions.  Preferred  stars 
are  used  to  translate  each  story  in  its  finest 
form;  every  Preferred  Picture  is  perfectly  cast. 

The  casts  of  Preferred  Pictures  include  such 


names  as 

Kenneth  Harlan 
Gaston  Glass 
Ethel  Shannon 
Barbara  La  Marr 
Colleen  Moore 
Lon  Chaney 
Madge  Bellamy 
Miriam  Cooper 
Claire  Windsor 
House  Peters 

Marguerite 


Ruth  Clifford 
Joseph  Dowling 
Florence  Vidor 
Raymond  Hatto 
Stuart  Holmes 
Walter  Long 
Truly  Shattuck 
Estelle  Taylor 
Lloyd  Hughes 
Zasu  Pitts 
de  la  Motte 


Josef  Swickard 
Myrtle  Stedman 
Edith  Yorke 
n    David  Butler 
Rosemary  Theby 
Edith  Roberts 
Harrison  Ford 
Miss  du  Pont 
Frankie  Lee 
Russell  Simpson 
Tom  Santschi 


In  developing  its  program  for  the  coming 
year,  Preferred  Pictures  has  searched  litera- 
ture, the  stage  and  all  other  sources  available 
to  maintain  its  high  standards  and  to  present 
photoplays  of  unquestioned  merit. 

PREFERRED  PICTURES  are  shown  in  your  city. 
Call  up  your  Favorite  Theatre  and  ask  "WHEN?" 

Distributed  by 

PREFERRED    PICTURES    CORP, 

AL  LICHTMAN,  President 
1650  Broadway,  New  York 


PREFERRED 
PICTURES 

Produced  by 

B.  P.  SCHULBERG 

Coming 
"The  Broken  Wing" 

by   Paul   Dickey   and   Charles 
W.  Goddard. 

"Mothers-in*Law" 

by  Frank  Dazey  and  Agnes 
Christine  Johnston. 

"The  Virginian" 

by  Owen  Wister. 

"April  Showers" 

by  Mope  Loring  and  Louis  D. 
Lighton. 

"Maytime" 

by  Rida  Johnson  Young. 

"The  Boomerang" 

by  Winchell  Smith  and  Victor 
Mapes. 

"White  Man" 

by  George  Agnew 
Chamberlain. 

"Poisoned  Paradise" 

by  Robert  W.  Service. 

"When  a  Woman 

Reaches  Forty" 

by  Royal  A.  Baker. 

"The  Mansion  of 

Aching  Hearts" 

by  Harry  Von  Tilzer  and 
Arthur  J.  Lamb. 

"The  Breath  of 

Scandal" 

by  Edwin  Balmer 

"The  First  Year"  (of 

married  life) 

by  Frank  Craven. 

"The  Triflers" 

by  Frederick  Orin  Bartlett. 

"Faint  Perfume" 

by  Zona  Gale. 

"My  Lady's  Lips" 


^ob1  Showing 

"Daughters  of  the  Rich" 
"TheGirlWhoCameBack" 
"Are  You  a  Failure?" 
"Poor  Men's  Wives" 
*"The  Hero" 
"Thorns  and 

Orange  Blossoms" 
^"Shadows" 
"Rich  Men's  Wives" 

*  Placed  by  Robert  E.Sherwood, 
critic  of  LIFE,  on  his  Hit  <•  i>  , 
fifteen  belt  pictures  of  the  year. 


When  you  write  to  advertisers  please  mini  lon  PlIOTol'I. AY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


HighSchool 
Course  in 
TwoTJears. 


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Slams  Across  the  Sea 

Southport,  Larco,  England. 
Editor  Photoplay  Magazine. 

Dear  Sir:  I  have  read  your  magazine  with 
great  interest  for  some  time,  and  I  always 
enjoy  it  ever  so  much,  except  for  one  thing — I 
don't  think  you  are  quite  fair  to  foreigners. 
I  know  you  will  say  that  your  magazine  is  an 
American  publication,  intended  for  American 
readers,  but  surely  you  can  be  patriotic  with- 
out hitting  out  at  other  countries.  For  in- 
stance, last  month  you  published  a  photo  of 
Gladys  Cooper  and  also  stated  that  New  York 
was  disappointed  in  her,  as  in  all  other  English 
beauties.  Well,  even  allowing  for  the  fact 
that  relations  are  always  a  little  strained 
between  the  two  countries,  isn't-  there  a  little 
prejudice  there?  Think  of  all  the  actresses 
America  sends  us,  such  as  Peggy  O'Neill, 
Wilette  Kershaw  and  many  others,  who  receive 
enthusiastic  receptions  in  England.  Eric  von 
Stroheim,  who  to  judge  by  "Blind  Husbands" 
and  "The  Devil's  Pass-Key"  is  one  of  Amer- 
ica's ablest  directors,  is  another  foreigner  who 
is  criticized  more  harshly  than  an  American 
would  ever  have  been.  Rodolph  Valentino 
was  set  at  naught  until  the  fans  acclaimed  him 
in  spite  of  the  critics. 

In  England  I  don't  think  Lillian  Gish  is 
considered  "the  supreme  artiste  of  the  screen." 
Norma  Talmadge,  Mary  Pickford  and  even 
Gloria  Swanson  draw  larger  crowds.  I  have 
just  seen  "Orphans  of  the  Storm,"  and  I  cer- 
tainly don't  think  Lillian's  acting  equalled 
Dorothy's.  It  is  Lillian's  fragile,  appealing 
beauty  rather  than  her  acting  ability  which 
wins  sympathy — and  in  her  own  country 
apparently,  admiration.  Dorothy's  dramatic 
moments  are  not  helped  by  a  "  spirituelle " 
look,  apart  from  her  cleverness  in  jumping 
from  comedy  into  tragedy  with  such  ease. 
I  doubt  if  Lillian  could  play  any  other  part 
other  than  that  of  a  helpless,  struggling 
heroine.  Whereas  Mary  Pickford  and,  I 
believe,  even  Norma  Talmadge,  could  play 
comedy  and  tragedy  equally  well. 

I  consider  Claire  Windsor  the  most  beautiful 
woman  on  the  screen,  and  Agnes  Ayres  about 
the  plainest.  I  like  to  watch  Gloria  and  Mae 
strolling  and  dancing  through  the  entertaining 
absurdities  they  call  "stories,"  and  I  liked 
Fox's  "Monte  Cristo"  far  better  than  "Or- 
phans of  the  Storm,"  and  Ingram's  "Four 
Horsemen"  than  "Way  Down  East"  or 
"Broken  Blossoms"  or  "The  Birth  of  a  Na- 
tion." In  fact,  I  think  Griffith  has  been  dis- 
tinctly overrated. 

I  know  that  if  you  publish  this  it  will  annoy 
some  people — but  after  all,  America  is  not 
the  only  country  drawn  on  the  map  of  the 
world,  as  an  incident  four  and  a  half  years  ago 
proved,  and  I  hope  Ivor  Novello  will  be  found 
worthy  to  rank  with  even  some  Americans  as 
far  as  acting  ability  goes. 

Marion  May 

The   Troupers,    God   Bless    'Em! 

Los  Angeles,  Calif. 
Editor  Photoplay  Magazine. 

Dear  Sir:  There  is  something  I  have  often 
wondered  about,  and  now  I'm  going  to  put  it 
down  in  writing.  Why  do  the  fans  seem  to  be 
interested  only  in  the  beautiful  people  of  the 
screen?  They  seem  to  entirely  overlook  such 
wonderful  artists  as  Sam  de  Grasse,  (whose 
Prince  John  in  "Robin  Hood"  was  so  excel- 
lent), and  E.  A.  (Fred)  Warren,  whom  I  think 
excels  even  the  preeminent  Chaney  in  the 
portrayal  of  Chinamen,  as,  for  instance,  in 
"  East  Is  West "  and  "  Inside  the  Law."  How- 
ever, he  is  not  limited  to  Orientals  as  those 
who  saw  his  old  Jew  in  "Hungry  Hearts"  will 
testify.  And  how  about  dear  Alec  Frances? 
Who  else  is  there  that  brings  to  the  screen  the 
personality,  charm  and  humanness  that  he 
does?    Lionel  Belmore,   too,  deserves  much 


Brickbats 
Bouquets 

LETTERS 
FROM  READERS 


The  readers  of  Photoplay  are 
invited  to  write  this  department 
— to  register  complaints  or  com- 
pliments— to  tell  just  what  they 
think  of  pictures  and  players. 
We  suggest  that  you  express  your 
ideas  as  briefly  as  possible  and 
refrain  from  severe  personal  crit- 
icism, remembering  that  the 
object  of  these  columns  is  to  ex- 
change thoughts  that  may  bring 
about  better  pictures  and  better 
acting.  Be  constructive.  We  may 
not  agree  with  the  sentiments  ex- 
pressed, but  we'll  publish  them 
just  the  same!  Letters  should  not 
exceed  200  words  and  should  bear 
thewriter's full name  and  address. 


more  recognition  from  the  fans  than  he  re- 
ceives. For  the  women,  there  is  lovely  Claire 
McDowell.  Doesn't  anyone  see  in  her  the 
<  weet,  adorable,  clever  woman  that  I  know  her 
to  be?  Helen  Jerome  Eddy  is  another,  but 
she  seems,  of  late,  to  be  taking  her  rightful 
place  among  the  really  worth  while.  There 
is,  one  real,  honest-to-goodness  girl!  Another 
who  must  be  in  the  list  of  favorites  is  Ford 
Sterling.  He  is  just  beginning  to  reappear  on 
the  screen,  and  is  now  playing  more  dramatic 
parts  than  his  old  Chief  of  Police.  During  all 
my  experience,  I've  never  met  anyone  who 
knows  more  about  picture  making  from  any 
angle  than  he  does,  and  besides  all  that,  he  is 


a  prince 


Agnes  Leahy. 


Producing  License 

La  Center,  Washington. 
Editor  Photoplay  Magazine. 

Dear  Sir:  Why  do  a  number  of  our  fans 
object  to  a  change  of  action  in  a  story  when  the 
story  is  transferred  to  the  silver  sheet?  Why 
don't  they  pause  to  consider  that  the  authors 
of  some  of  the  older  books,  which  in  May 
Photoplay,  Mrs.  G.  B.  Sharp  especially 
stipulated,  did  not  write  their  books  for  the 
convenience  of  present  day  motion  picture 
producers? 

Mr.  deMille  made  a  very  charming  picture 
of  "Manslaughter,"  even  if  it  did  not  follow 
Mrs.  Miller's  pages  so  closely.  I  think,  in 
some  respects,  that  the  picture  version  was 
an  improvement  on  the  original. 

Please  give  the  poor  producer  credit  for 
having  some  clever  ideas  of  his  own,  and  not 
force  him  to  cling  so  closely  to  his  model.  Let 
him  use  a  little  of  his  own  originality.  He  also 
has  to  play  to  the  box-office.  People  are  not 
going  to  pay  their  money  very  often  to  go  to  an 
entertainment  from  which  they  come  away 
with  a  harried  and  dissatisfied  feeling,   and 


you    know,    morbid   endings   were   the   most 
popular  in  days  gone  by. 

The  producers  are  seeking  new  ideas  today 
and  a  book  of  an  older  author  might  contain 
some  very  interesting  material.  Should  this 
material  be  allowed  to  go  to  waste  just  because 
that  author  used  some  idea  which  would  not 
transfer  well  to  the  screen?  I  am  sure  more 
people  were  pleased  with  Rex  Ingram's  'version 
of  "Eugenie  Grandet"  than  Balzac's. 

Wilma  Kane. 

The  Champion  Vamp 

Peoria,  Illinois. 
Editor  Photoplay  Magazine. 

Dear  Sir:  If  anyone  were  to  ask  me  who 
my  favorite  actress  is,  I  would  happily  say — 
Pola  Negri.  Ever  since  I  saw  her  in  "Bella 
Donna,  "in  which  she  acted  so  marvelously,  and 
since  she  has  used  American  make-up,  which 
has  made  her  so  very  beautiful,  she  has  ranked 
the  champion  of  all  vamps.  She  belongs  at 
the  top  of  the  Honor  roll.  Pola  forever! 
Martha  Heaton. 

Eighty  Per  Cent  Perfect 

Cincinnati,  Ohio. 
Editor  Photoplay  Magazine. 

Dear  Sir:  As  an  old  and  enthusiastic  sub- 
scriber to,  and  reader  of,  your  excellent  maga- 
zine (I  have  the  files  intact  for  five  years)  I 
want  to  call  your  attention  to  an  interesting 
fact.  Coming  from  Clarksdale,  Miss.,  and 
from  Memphis  to  Louisville  and  Cincinnati,  I 
happened  to  notice  the  readers  of  magazines 
and  was  pleased  to  learn  that  So"7^  had  invested 
in  the  current  issue  of  Photoplay.  I  was 
especially  glad  to  find  my  opinion  of  your 
magazine  car-oborated  in  this  manner. 

B.  M.  Brownell. 

A  Tonic  for  Tom 

Minneapolis,  Minn. 
Editor  Photoplay  Magazine. 

Dear  Sir:  I  read  in  the  May  Photoplay 
that  Thomas  Meighan  might  quit  acting  to 
become  a  director.  What  could  be  a  worse 
blow  to  his  fans?  Here  is  the  most  popular 
male  star  of  today,  right  at  the  height  of  his 
career,  going  to  desert  his  fans.  I  like  Mr. 
Meighan  too  well  to  blame  him  wholly.  I 
think  he  needs  a  spring  tonic  and  a  vacation. 
But  if  he  is  afraid  his  popularity  might  wane 
in  the  next  five  years,  he  is  wrong.  Meighan 
fans  aren't  that  kind.  They  don't  fall  for 
every  matinee  idol.  They  stick.  If  Mr. 
Meighan  continues  with  the  fine  screen  stories 
he  has  been  blessed  with,  together  with  good 
direction,  there  is  no  reason  why  he  isn't  good 
for  a  great  long  time. 

If  Tommie  leaves,  who  will  we  have  left? 
With  Wallace  Reid  gone,  Valentino  not  play- 
ing, and  Tommy  Meighan  directing,  the  movies " 
will  be  just  about  as  exciting  as  prohibition. 
No  one  can  fill  the  places  of  these  actors. 

So,  Meighan  fans,  get  busy.  We  want 
Tommie  on  the  screen,  not  back  of  it.  If  it 
must  be  proven  how  popular  he  is,  let's  stage 
a  popularity  contest  or  the  like.  You  know 
the  Irish  are  fighters  and  generally  get  what 
they  go  after,  and  as  every  Irishman  is  a 
Meighan  fan,  we  ought  to  win. 

Ruth  I.  Hamilton. 

More  About  Richard 

St.  Joseph,  Missouri. 
Editor  Photoplay  Magazine. 

Dear  Sir:  Why  not  have  more  about  Richard 
Dix  in  your  magazine?  Surely  he  is  as  fine  a 
young  man  as  you  will  find,  besides  being  a 
splendid  actor.  Don't  you  suppose  there  are  a 
few  people  in  the  world  who  get  tired  of  this 
eternal  harping  on  Rodolph,  Pola  and  Ramon? 
They  are  all  right,  but  I'm  one  who  would  like 
to  hear  more  of  Richard  Dix. 

Mrs.  Lois  W.  Bowen. 

15 


Photoplay  Magazine — Advertising  Section 


EARLE  E.   LIEDERMVN 

us  he  is  to-day 

Some  day 

a  little  bug 

is  going  to  get  you — 

Germs  are  here,  there  and  everywhere.  They  are 
in  tlie  air,  in  your  food  and  the  very  water  you 
drink.  In  fact,  scientists  say  your  body  Is  lull  of 
them.  They  arc  only  waiting  for  your  vitality  to 
weaken  and  then  they  are  going  to  Ret  you. 

Hut  what  does  a  strong,  haalthy  man  care  about 
all  this?  Once  these  terrible  germs  find  your  lungs 
breathing  deep  with  oxygen  and  your  heart  pump- 
ing rich,  red  blood,  they  are  going  to  run  for  their 
lives,  A  disease  germ  has  as  much  chance  In  a 
healthy  body  as  a  fly  has  in  a  spider's  web. 

Food  Was  Meant  to  Eat 

I  don't  ask  you  to  give  up  all  the  good  things  in 
lite.  I  make  you  lit  to  enjoy  them.  Everything 
was  made  with  some  purpose.  Food  was  meant 
to  eat  and  a  healthy  man  has  no  regrets  for  satis- 
fying his  keen  appetite.  A  man  who  takes  the 
proper  exercise  craves  food  and  must  have  it. 
Water  was  meant  to  bathe  with — both  inside  and 
out.  By  drinking  plenty  of  water  you  remove  the 
waste  matter  within.  Just  as  washing  your  skin  re- 
moves the  waste  matter  without. 

I  MAKE  MUSCLE 

I  am  not  a  doctor— I  don't  claim  to  cure  disease. 
Mill  is  a  physician's  job.  But  follow  my  advice 
and  the  doctor  will  starve  to  death  waiting  for  you 
to  take  sick.  I  build  strength  and  endurance.  I 
make  muscle.  Follow  my  instructions  and  you 
will  Increase  your  arm  one  full  Inch  in  thirty  days 
— yes,  and  put  two  inches  on  your  chest  in  the 
same  length  of  time.  But  that  is  only  a  starter. 
Meanwhile,  I  work  on  those  inner  muscles  sur- 
rounding your  heart  and  other  vital  organs  which 
affect  your  entire  physical  being.  You  will  soon 
feel  the  thrill  of  life  pulsing  through  your  veins. 
You  will  have  pep  In  your  old  backbone.  There 
will  be  a  flash  to  your  eye  and  a  spring  to  your 
step.  You  will  radiate  vitality  and  have  the  strong 
robust  body  to  put  it  over.  I  don't  promise  these 
things — I  guarantee  them.  Come  on  .'mil  make  me 
prove  It.  That  is  what  I  like,  because  1  know  I 
can  do  It. 

Send    for    My    New    64-Page    Book 

"MUSCULAR  DEVELOPMENT" 

It  contains  forty-three  full-page  photographs  of 
myself  and  some  of  the  many  prize-winning  pupils  i 
lined.  Some  of  these  came  to  me  as  pitiful 
weaklings.  Imploring  me  to  help  them.  Look  them 
o\cr  now  anil  you  will  marvel  at  their  present 
physiques.  This  book  will  prove  an  Impetus  and  a 
real  inspiration  to  you.  It  will  thrill  you  through 
and  through.  All  1  ask  is  ten  cents  to  cover  the  cot  i 
of  wrapping  and  mailing  and  it  is  yours  to  keep. 
This  will  not  obligate  you  at  all,  hut  for  the  sake  of 
your  future  health  and  happiness,  do  nut  put  it  off. 
Send  today — right  now,  before  you  turn  this  page. 

EARLE   E.  LIEDERMAN 

Dept.   109,    305   Broadway,    New  York  City 

EARLE  E.  LIEDERMAN. 

Dept.  109,  305  Broadway,  New  York  City 

Dear  Sir: — I  enclose  herewith  10  cents  for  which 

■  nil  are  e,  without  any  obligation  on  my 

pari   whatever,  a  copy  of  your  latest  hook  "Mus- 

ul.ir  Development."    (Please  write  or  print  plainly) 

Name 

street 

City ...  .State 


FRIENDLY 
ADVICE 


From 
Carolyn  'Van  JVyck 


""L_rOW  can  I  hold  my  husband's  interest?'' 
-*-  -Mt  was  a  question  that  came  to  me,  this 
morning,  in  a  slim,  tear-stained  little  letter. 
And  it  isn't  the  first  time  that  the  same  ques- 
tion has  reached  me,  either! 

Wives — slightly  past  the  thirty  mark,  per- 
haps nearing  thirty-five — are  the  ones  who 
most  often  ask  this  question.  Wives  who 
wonder  why  their  husbands  do  not  seem  over- 
anxious to  take  them  to  dinner  or  the  theater. 
Who  wonder  why  the  little  signs  of  affection  and 
thoughtfulness,  and — yes — admiration  are  be- 
coming less  frequent  every  day.  Wives  who 
are  good  housekeepers  and  excellent  home- 
makers.  Who  are  economical  and  practical. 
Who  see  that  socks  are  darned,  and  rooms  are 
dusted  and  dinners  are  well  served. 

But  wives  who  frequently,  alas,  forget  to  be 
charming/ 

What  engaged  girl  would  consciously  allow 
her  fiance  to  see  her  in  an  ugly  gown  or  an 
unbecoming  hat?  With  untidy  hair,  or  ragged 
linger  nails  or  a  hole  in  the  heel  of  her  stocking? 
But  how  many  married  women  think  nothing 
of  appearing  at  the  breakfast  table  in  an  un- 
attractive kimono  and  curl  papers!  And  how 
many  splendid  wives  and  mothers  neglect  the 
hands  and  the  skin  that  they  were  once  so 
proud  of.  A  husband  enjoys  a  prettily  waved 
coiffure  and  the  after-effect  of  a  facial  massage 
just  as  much — after  five  or  ten  years  of  mar- 
ried life — as  he  did  on  the  honeymoon! 

Xo  business  woman  will  be  careless  about  a 
position  that  she  has  taken  the  trouble  to 
secure.  She  will  try,  every  day,  to  do  her  work 
i  n  a  better  and  more  efficient  manner.  Because 
she  does  not  want  to  take  a  chance  of  losing 
that  position.  But  many  a  home  woman,  after 
acquiring  a  husband,  will  take  a  chance  of 
losing  him.  Because  she  forgets  that  it  is  part 
of  a  wife's  business  to  look  out  for  her  personal 
appearance.  Because  she  forgets  that  good 
looks  are  an  important  part  of. her  matrimonial 
equipment. 

Adele,  Atlanta,  Georgia. 

A  bride's  first  dinner  parties  are  very  im- 
portant matters,  of  course.  She  takes  a 
certain,  and  understandable,  pride  in  the  serv- 
ing of  "company"  meals  in  her  own  little 
home.  But  she  often — all  too  often! — makes 
the  mistake  of  trying  to  be  too  elaborate  and 
formal. 

Xearly  every  bride  starts  her  adventure  of 
housekeeping  in  a  modest  way.    Usually  with 


one  maid — or  doing  her  own  work.  And  so. 
for  that  reason,  the  dinners  that  she  serves 
should  be  simple  ones  of  few  courses.  Better. 
far,  a  happily  managed  home  dinner  of  two  or 
three  simple  courses  than  a  long  and  involved 
affair  that  reduces  the  inexperienced  home- 
maker  to  a  nervous  wreck.  The  bride's 
friends,  and  her  husband's  friends,  would  far 
prefer  the  easy,  informal  supper  party. 

In  the  summer  time  a  roast,  a  steak,  or 
French  chops  with  green  peas  and  potatoes — 
or  any  other  two  vegetables — a  cool,  crisp 
salad  of  romaine  and  French  dressing,  and  an 
ice  is  quite  enough  to  serve.  With  iced  tea — 
served  with  the  meat  course — or  after-dinner 
coffee. 

Helen,  K.  R.,  New  York  City. 

Another  question  about  hair!  Well,  I  sup- 
pose that  hair  is  all  important,  in  the  heated 
season,  when  so  many  charming  costumes  ?eem 
less  attractive  because  of  stringy,  unbeautifully 
arranged  locks.  I  do  not  blame  you  for  want- 
ing a  permanent  wave — such  a  wave,  when 
carefully  and  skilfully  done,  is  a  real  blessing  to 
girls  who  look  their  best  with  curly  locks.  The 
Nestle  Lanoil  wave  is  both  safe  and  effective. 
Since  that  is  the  one  you  ask  about  I  am  more 
than  glad  to  applaud  your  judgment.  There  is 
nothing  to  fear  from  this  wave — indeed,  I 
think  that  you  will  find  the  process  an  interest- 
ing one. 

Nanon,  Montreal,  Canada. 

Your  reddish  hair  and  brown  eyes  are  a 
charming  combination.  Your  best  colors  will 
be  shades  of  brown  and  green,  but  you  can  also 
wear  grey,  silver,  gold,  yellow,  orchid,  blue, 
periwinkle  and  violet.  And  all  of  the  pastel 
tints — even  shell  pink. 

I  am  afraid  that  the  average  person  does  not 
grow  very  much  after  the  age  of  eighteen — 
unless  that  person  has  experienced  a  long 
illness.  Four  feet  eleven  inches  is  small — you 
are  the  second  tiny  girl  who  has  written  to  me 
this  day.  You  should  not  weigh  over  a  hundred 
pounds.  I  should  suggest  a  diet  from  which 
you  eliminate  all  sugars,  starches  and  fats. 
This  sounds  hard — but  it  is  far  more  pleasant 
to  practice  a  bit  of  self-denial  than  to  be  over- 
weight. The  Wallace  reducing  exercises  will 
also  be  beneficial  to  you,  if  you  own  a  phono- 
graph or  victrola.  For  your  hips,  I  think  that 
massage,  or  a  rubber  reducing  garment,  would 
be  most  satisfactory,     (cont'd  on  page  127) 


Let  Carolyn  Van  Wyck  be  your  confidante 
She  will  also  be  your  friend 

S~*JROLYN  VAN  WYCK  is  a  society  matron,  well  known  in  New  York's  smartest 
C  and  most  exclusive  inner  circle.  She  is  still  young  enough  fully  to  appreciate  the 
problems  of  the  girl — she  is  experienced  enough  to  give  sound  advice  to  those  in  need  of 
it;  be  they  flappers,  business  women,  or  wives  and  mothers.  She  invites  your  confidences 
— she  will  respect  them — on  any  subject.  Clothes,  charm  and  beauty,  love,  marriage, 
the  dreams  and  hopes  that  come  to  every  one,  the  heartbreaks  and  the  victories — who  has 
not  wished  to  talk  them  over  with  some  woman  who  would  be  tolerant  and  just,  sympa- 
thetic and  filled  with  human  understanding?     Here  is  the  opportunity  to  do  so. 

—The  Editor 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Mag.  line — Advertising  Section 


17 


7 


If  a  husband  stops  loving 
his  wife,  or  becomes  infat- 
uated with  another  woman, 
who  is  to  blame — the  hus- 
band, the  wife,  or  the 
"other  woman"?  Elinor 
Glyn,  famous  author  of 
"Three  Weeks"  and  the 
world's  highest  authority 
on  love,  says  it  is  generally 
the  wife's  fault— and  proves 
it!  She  explains  how  such 
things  can  easily  be  pre- 
vented —  how  all  men  and 
women  can  hold  forever 
the  love  they  cherish. 


IF  you  know  all  there  is  to  know  about 
the  perplexities  of  love  and  the  problems 
of  marriage — if  you  know  everything  about 
winning  a  woman's  heart  or  holding  a  man's 
affection — don't  read  this  article.  BUT — 
if  you  are  in  doubt — if  you  would  like  to 
know  why  so  many  married  people  are  dis- 
contented— if  you  don't  know  how  to 
handle  your  husband,  or  please  your  wife, 
or  win  the  devotion  of  the  one  you  care  for 
— read  every  word  below!  You  will  be  glad 
you  DID! 

Ask  Yourself  These 
Questions  Frankly 

Will  you  marry  the  man  you  love,  or 
will  you  take  the  one  you  can  get?  Why 
do  some  men  grow  increasingly  indifferent 
even  though  their  wives  strive  tirelessly  to 
please  them?  Will  you  win  the  girl  you 
want,  or  will  Fate  select  your  Mate?  Why 
do  some  men  antagonize  women,  finding 
themselves  beating  against  a  stone  wall  in 
affairs  of  love?  When  is  it  dangerous  to 
disregard  convention?  Do  you  know  how 
to  curb  a  headstrong  man,  or  are  you  the 
victim  of  men's  whims? 

Do  you  know  how  to  retain  a  man's 
affection  always?  How  to  attract  men? 
Do  you  know  the  things  that  most  irritate 
a  man?  Or  disgust  a  woman?  Can  you 
tell  when  a  man  really  loves  you — or  must 
you  take  his  word  for  it?  Do  you  know 
what  you  must  not  do  unless  you  want  to 
be  a  "wall-flower"  or  an  "old  maid"? 
WiU  you  be  able  to  hold  the  love  of  the 
one  you  cherish — or  will  your  marriage  end 
in  divorce?  Do  you  know  the  little  things 
that  make  women  like  you?  Why  do  "won- 
derful lovers"  often  become  indifferent  hus- 
bands soon  after  marriage — and  how  can 
the  wife  prevent  it?  Do  you  know  how  to 
make  marriage  a  perpetual  honeymoon? 


If  you  have  solved  all  of  these  problems, 
you  are  one  in  ten  thousand!  But  if  you 
are  in  doubt — if  you  want  to  get  the  most 
out  of  love — if  you  want  to  know  all  about 
the  problems  of  marriage — then  send 
quickly  for  "The  Philosophy  of  Love." 


Every  Man  and  Woman 
Should  Read  This  Book 

"The  Philosophy  of  Love"  is  a  new  book 
by  Elinor  Glyn,  famous  author  of  "Three 
Weeks."  It  is  one  of  the  most  daring  books 
ever  written.  It  will  thrill  you  as  you  have 
never  been  thrilled  before.  It  may  also  up- 
set some  of  your  pet  notions  about  love 
and  marriage.  But  it  will  set  you  right 
about  these  precious  things  and  you  will 
be  bound  to  admit  that  Madame  Glyn — 
who  has  made  a  life  study  of  love — has 
written  the  most  amazingly  truthful  and 
the  most  downright  helpful  volume  ever 
penned.  She  warns  you  gravely,  she  sug- 
gests wisely,  she  explains  fully. 

We  admit  that  the  book  is  decidedly 
daring.  It  had  to  be.  A  book  of  this  type, 
to  be  of  real  value,  could  not  mince  words. 
Every  problem  had  to  be  faced  with  utter 
honesty,  deep  sincerity,  and  resolute  cour- 
age. But  while  Madame  Glyn  calls  a  spade 
a  spade,  while  she  deals  with  strong  emo- 
tions in  her  frank,  fearless  manner,  she 
nevertheless  handles  her  subject  so  tenderly 
and  sacredly  that  the  book  can  be  safely 
read  by  any  man  or  woman. 

Certain  shallow-minded  persons  may 
criticise  "The  Philosophy  of  Love."  Any- 
thing of  such  an  unusual  character  gener- 
ally is.  But  Madame  Glyn  is  content  to  rest 
her  world-wide  reputation  on  this  book— 
the  greatest  masterpiece  of  love  ever 
attempted ! 


SEND  NO  MONEY 

YOU  need  not  advance  a  single  penny  for  "The 
Philosophy  of  Love."  Simply  fill  out  the  cou- 
pon below — or  write  a  letter — and  the  book  will  be 
sent  in  plain  wrapper  on  approval.  When  the  post- 
man delivers  the  book  to  your  door — when  it  is 
actually  in  your  hands — pay  him  only  $1.98,  plus 
a  few  pennies  postage,  and  the  book  is  yours.  Go 
over  it  to  your  heart's  content — read  it  from  cover 
to  cover — and  if  you  are  not  more  than  pleased, 
simply  send  the  book  back  in  good  condition  within 
five  days  and  your  money  will  be  refunded  instantly. 

Over  75,000,000  people  have  read  Elinor  Glyn's 
stories  or  have  seen  them  in  movies.  Her  books  sell 
like  magic.  "The  Philosophy  of  Love"  is  the  su- 
preme culmination  of  her  brilliant  career.  It  is  des- 
tined to  sell  in  huge  quantities.  Everybody  will 
talk  about  it  everywhere.  So  it  will  be  exceedingly 
difficult  to  keep  the  book  in  print.  It  is  possible 
that  the  present  edition  may  be  exhausted,  and  you 
may  be  compelled  to  wait  for  your  copy,  unless  you 
mail  the  coupon  below  AT  ONCE.  We  do  not  say 
this  to  hurry  you — it  is  the  truth. 

Get  your  pencil — fill  out  the  coupon  below.  Mail 
it  to  The  Authors'  Press,  Auburn,  N.  Y.,  before  it 
is  too  late.  Then  be  prepared  for  the  greatest  thrill 
of  your  life! 


I  The  Authors' Press,  Dept.  157,  Auburn,  N.Y.  I 

I  Please  send  me  on  approval  Elinor  Glyn's  mas-  ■ 
terpiece,  "The  Philosophy  of  Love."  When  the  ( 
postman  delivers  the  book  to  my  door,  I  will  pay  . 


I  him  only  $1.98,  plus  a  few  pennies  postage.  It  is 
understood,  however,  that  this  is  not  to  be  con- 
Isidered  a  purchase.  If  the  book  does  not  in  every 
way  come  up  to  expectations,  I  reserve  the  right 
to  return  it  any  time  within  five  days  after  it  is 
I  received,  and  you  agree  to  refund  my  money. 


De  Luxe'  Leather  Edition — We  have  prepared  a 
Limited  Edition,  handsomely  bound  in  Royal  Blue 
Genuine  Leather  and  lettered  in  Gold,  with  Gold 
Tops  and  Blue  Silk  Markers.  No  expense  spared 
— makes  a  gorgeous  gift.  If  you  prefer  this  leather 
edition  —  as  most  people  do  —  simply  sign  below, 
place  a  cross  in  the  little  square  at  the  right,  r 
and  pay  the  postman  only  S2.98  plus  postage.    I — I 


Name. 


Address  . 


City  and  State ■ 

IMPORTANT— If  you  reside  outside  the  U.  S.  A.  J 

payment  must  be  made  in  advance.     Regular  I 

Edition  $2.12.    Leather  edition,  $3.12.   Cash  with  J 
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iS 


Photoplay  Magazine — Advertising  Section 


ypu  tooxan  hav&* 


"A  Skin  You  Love  to  Touch' 
by  Guy  Hoff 


a4re  you  dissatisfied — 

with  your  complexion  ?  Do  you  long 
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your  skin  is  changing;  old  skin  dies 
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By  giving  this  new  s\in  the  care  it 
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A  25  cent  cake  lasts  a  month  or  six 
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Three  Woodbury  skin  preparations  — 
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Cut  out  this  coupon  and  send  it  to  us  today 


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Every  advertisement  in  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


-/Qfr 


Copyright.  1923.  fcy  77i*-  Andrew  Jeraenm  Co. 


Hesser 


O  ICHARD  WALTON  TULLY  saw  Andree  Lafayette's  picture  on  a  poster  in 

Paris — and  signed  her  for   Trilby.  Miss  Lafayette  first  won  her  place  in 

French  pictures  via  a  beauty  contest.   So  she  came  out  of  Normandy  to  fame 


Muray 


pRESH  from  New  Orleans,  Leatrice  Joy's  first  screen  role  of  any  consequence 

was  in  support  of  our  own  Mary  Pickford  in   "The  Pride  of  the  Clan." 

Then — after  the  usual  film  fashion — she  spent  a  long  time  in  silversheet  comedies 


Rioher 


f~)NLY  two  years  in  pictures — and  yet  one  of  the  best  bad  men  with  a  sense 
^"^  of  humor  in  all  celluloidia.  That's  Ernest  Torrence.  He  started  setting  the 
pace   in  "Tol'able  David."  Recently  there's  his  gem  in  "The  Covered  Wagon" 


Bull 


A  T  seventeen  Conrad  Nagel  took  a  Bachelor  of  Arts  degree  at  Highland  1  ark 
^  College  in  Dea  Moines,  Iowa.  College  theatricals  led  to  the  stage  and  the 
footlights  brought  him  to  the  screen.  Now  he's  one  of  our  sterling  young  leads 


Hesser 


TOPLIN,  MO.,  prides  itself  upon  Pauline  Starke's  success.  She  made  her  debut 
**  under  the  Griffith  banner,  after  going  to  New  York  to  study  music.  She  has 
a  number  of  fine  characterizations  to  her  credit,  surprising  for  one  of  her  years 


Kesslere,  B-  "P. 


T>EGGY  SHAW  came  from  that  haven  of  smoke  and  millionaires,  Pittsburg. 

She  attracted  attention  as  a  stage  amateur  and  made  her  screen  entry  via  the 

Ziegfeld  Follies,  the  pulchritudinous  path  trod  by  so  many  celluloid  beauties 


Pach  Brothers 


'"PHERE  can  be  no  more  welcome  news  to  filmdom  than  the  return  of  Alice 

A  Joyce,  an  actress  as  sympathetic  as  she  is  beautiful.  Marriage  took  her  from 

the  screen  but  the  celluloid  world  will  welcome  the  decorative  Alice  back  again 


^ 


o  save  that  precious  new  garment 

QJa simple  soap-testfor  safety 


What  does  safety  for  a  deli- 
cate garment  mean?  It  means: 

1  Protection  against  fading 
of  colors  or  yellowing  of 
white  silks. 

2  Protection  against  weaken- 
ing, shrinking  or  matting 
of  fabric  fibres. 

3  Protection  of  "finish." 

4  Protection  against  wear 
and  tear  of  rubbing. 

How  can  you  make  sure, 
before  you  risk  a  delicate  gar- 
ment, that  the  soap  will  ren- 
der such  protection? 
Here  is  a  simple  yet  conclusive  test: 
Ask"  yourself: 

"Would  I  be  willing  to  use 
the  soap  on  my  face?" 
Your   own   answer  is  your 
best  answer. 


12  Washings — and  Safe 

Pink  Cripe  de  Chine  and  Precious 
Cluny  Lace 

This  delicately  tinted  nightgown  was 
sent  to  us  by  a  California  woman  to 
whom  it  was  very  precious.  In  her 
letter  offering  it  to  us  she  says,  "It  has 
always  been  washed  with  Ivory  Soap 
Flakes  by  following  directions  on  the 
package.  I  cannot  speak  too  highly 
of  Ivory  Flakes.  I  used  it.  together 
with  Ivory  Soap,  for  washing  my 
baby's  clothes,  too." 
Garment  and  owner's  Inter  on  file  in 
the  Procter  &  Gamble  office. 


You  will  probably  find  that 
very  few  soaps  can  stand  this 
simple,  but  severe,  test;  but 
one  of  these — probably  the 
first  that  comes  to  your  mind 
— is  Ivory  Flakes. 

For  Ivory  Flakes  is  Ivory 
Soap  in  flake  form — the  very 
same  Ivory  Soap — pure,  mild, 
gentle,  white — that  has  pro- 
tected lovely  complexions 
ever  since  1879.  You  realize 
at  once  that,  since  Ivory  Soap 
cannot  harm  the  most  deli- 
cate skin,  Ivory  Flakes  will  be 
safe  for  the  most  delicate 
fabric  that  can  stand  the  touch 
of  pure  water. 

What  a  comfort  it  will  be  to 
dip  your  precious  garments 
into  a  suds  that  you  know  is 
safe. 


Ivory  Flakes  is  inexpensive 
too — you  can  use  it  eco- 
nomically for  all  the  heavier 
things  that  require  careful 
laundering.  Yet  it  has  that 
unique  margin  of  safety,  above 
and  beyond  other  soaps, 
which  makes  it  safe  for  the 
filmiest  chiffons,  georgettes, 
woolens  and  laces. 

May  we  have  the  pleasure  of 
sending  you  a  sample  pack- 
age of  Ivory  Flakes  and  a 
beautifully  illustrated  booklet 
of  washing  suggestions?  You 
will  find  directions  for  ob- 
taining them  in  the  lower 
right-hand  corner  of  this  page. 

Full size  packages  of Ivory  Flakes 
are  for  sale  in  grocery  and 
department  stores   everywhere. 

PROCTER  &  GAMBLE 


FREE — This  package  and  booklet 

A  sample  package  of  Ivory  Flakes 
and  the  beautifully  illustrated 
booklet,  "The  Care  of  Lovely 
Garments,"  will  be  sent  to  you 
without  charge  on  application  to 
Section  4VIF,  Dept.  of  Home 
Economics,  The  Procter  & 
Gamble  Co.,  Cincinnati,  Ohio. 


SOAV' 


3Aak.es  dainty  clothes  last  longer 


"H 


( ", ,  pyrtgtit  lWg(.  by  Thf  Prwt-r  *  <l»mt>l«-  Cn..  t'inc,nn«ti 


Volume  XXIV 


The  aNational  Quide  to  ^Motion  Pictures 


Number  Four 


■n:\ni:  mark! 


PHOTOPLAY 


September,  1923 


Speaking  of  Pictures 


By  James  R.  Quirk 


DEAR  MR.  CHAPLIN :  Please  make  more  comedies.  We 
can  sympathize  with  your  desire  to  express  yourself  by 
directing  dramatic  pictures.  But  you  hold  a  unique  place  in 
the  motion  picture  art  and  history,  and  why  should  you  enter 
into  competition  with  the  de  Milles,  the  Neilans,  the  Griffiths, 
the  Niblos,  and  others?  To  use  that  popular  Hollywood  expres- 
sion, be  yourself.    No  one  can  ever  take  that  away  from  you. 

IT  looks  as  though  Jackie  Coogan  was  right  when  he  said  if 
they  didn't  make  "Ben  Hur"  soon  he  would  be  grown  up  * 
enough  to  play  the  title  role.  The  latest  report  is  that  Von 
Stroheim  is  to  make  it.  If  so,  we  wouldn't  be  surprised  if  he 
went  to  Europe  and  rebuilt  Palestine  and  the  Roman  Empire 
with  all  their  ancient  glory.  The  public  is  not  half  so  interested 
in  realism  as  Mr.  Von  Stroheim  is.  He  is  a  great  director,  but 
he  and  Cecil  de  Mille  seem  to  be  too  concerned  with  outspending 
the  other  fellows. 

WHEN  Universal  gasped,  "enough,"  Mr.  Von  Stroheim 
was  snapped  up  by  Goldwyn.  Thereupon  one  of  the  wits 
of  Hollywood  exclaimed,  "That  company  sure  is  a  glutton  for 
punishment." 

MR.  BRABIN  (who  married  Theda  Bara)  made  a  wonderful 
picture  of  his  own,  called  "Driven."  Its  total  cost  was 
$30,000.  There  wasn't  an  expensive  set  in  it,  just  a  simple 
human  story  of  the  Kentucky  mountains.  Yet  it  was  a  great 
picture  and  the  public  applauded  it  with  their  quarters  and  half 
dollars,  and  rewarded  the  distributors  who  were  wise  enough  to 
purchase  it  with  a  big  profit.  Then  Mr.  Brabin  went  over  to 
the  Goldwyn  lot  where  dollars  are  spent  like  marks  in  an  effort 
to  gain  a  position  of  leadership  and  give  Paramount  a  battle  for 
supremacy.  The  story  goes  that  he  submitted  his  estimates  for 
his  picture,  about  $80,000.  " Not  enough,"  he  was  told.  "This 
is  a  big  special,  and  you  ought  to  spend  $200,000." 
Such  a  business! 

'  A  FTER  all  is  said  and  done,"  says  Herbert  Brenon, 
^»-"good  pictures  can  be  made  only  by  good  organization. 
I  am  making  better  pictures  at  the  Lasky  lot  than  I  ever  made 
in  my  life  because  of  the  wonderful  organization  that  Mr.  Lasky 
and  Mr.  Zukor  have  built  up  there."  Now  that's  saying  some- 
thing. We  congratulate  Mr.  Brenon  on  his  "Rustle  of  Silk." 
It  was  a  splendid  example  of  good  direction.  Another  thing  we 
want  to  commend  him  on  is  his  ability  to  understand  and  get 
the  most  out  of  Miss  Negri,  who  had  acquired  an  unenviable 
reputation  as  a  star  that  was  hard  to  direct. 

ELSEWHERE  in  this  issue  of  Photoplay  is  an  interview 
with  Allan  Dwan,  one  of  our  greatest  directors,  on  the  sub- 
ject of  stellar  temperament.     Much  of  the  so-called  tempera- 


ment of  actors  and  actresses  is  due  to  the  fact  that  they  often- 
times know  more  about  their  business  than  the  director.  A 
director  must  command  the  respect  of  his  people  by  demon- 
strating that  he  knows  his  business  at  least  as  well  as  they  do. 

WE  have  never  seen  an  actor  who  needed  his  job  showing 
temperament.    It  is  a  luxury  that  travels  in  limousines. 
And  many  directors  have  beautifully  upholstered  cars. 

AND  while  we  are  on  the  subject  of  directors,  isn't  it  about 
time  that  Mr.  Griffith  made  a  picture  that  would  go  far 
toward  maintaining  his  title  of  "The  Master"?  That  reputa- 
tion, which  is  not  so  secure  as  formerly,  may  slip  further  unless  he 
comes  back  into  the  ring  and  upholds  his  championship.  Right 
now  there  are  at  least  four  other  directors  who  have  endangered 
his  prestige.  Reputation  cannot  live  long  on  past  accomplish- 
ments. "White  Flowers"  at  two  dollars  apiece  are  too  high 
when  other  florists  are  selling  them  at  fifty  cents. 

SO  far  as  material  is  concerned  there  is  no  excuse  for  Mr. 
Griffith.  There  is  no  lack  of  great  subjects.  James  Cruze 
with  "The  Covered  Wagon"  proved  that,  and  Cecil  de  Mille 
will  probably  prove  it  again  with  "The  Ten  Commandments." 
Pictures  on  such  themes  as  these  are  surely  worthy  of  Mr. 
Griffith,  and'  he  could  do  one  in  a  way  that  would  again  earn 
for  him  his  dwindling  fame.  It  was  one  picture  of  this  type, 
"The  Birth  of  a  Nation,"  that  placed  him  in  the  forefront  of 
producers. 

WE  are  just  beginning  to  realize  the  tremendous  influence 
of  pictures  on  styles,  personal  adornment,  coiffures,  and 
even  home  decoration.  One  reader  writes  the  editor  complain- 
ing that  his  daughter  has  been  bothering  the  life  out  of  him  by 
her  insistence  on  redecorating  their  home  to  conform  with  some 
of  the  ideas  she  has  seen  in  pictures.  She  wants  to  take  off  the 
good  old  fashioned  wall  paper  that  was  good  enough  for  her 
grandmother,  and  tint  the  walls  light  grey  or  cream  color.  She 
wants  to  get  a  baby  grand  piano  instead  of  the  old  upright  that 
has  been  in  the  family  twenty  years.  She's  gone  crazy,  he  says, 
and  something  should  be  done  about  it.  We  agree  with  him. 
Something  should  be  done.  If  he  can  afford  it  he  should  get  out 
his  checkbook  and  make  a  home  for  his  daughter  that  she  will 
take  pride  in. 

ANOTHER  concrete  example.  The  Detroit  department 
stores  noticed  a  sudden  demand  for  telephone  covers,  those 
dainty  little  French  dolls,  little  sentry  boxes,  and  such.  They 
investigated,  and  found  that  Cecil  de  Mille  was  their  silent 
salesman.  There  had  been  two  of  his  pictures  shown  there  in 
the  preceding  two  months.  We  wonder  if  the  bathroom  fixtures 
business  has  felt  any  similar  effect. 

27 


Gl 


oria! 


An 
Impression 


Youve  wondered  about 

Gloria  SwansorTs 

real  personality. 

Here  it  is 


By 
Adela  Rogers  St.  Johns 


Gloria  Swanson  has  won  fame  and  fortune 

for  herself,  and  together  they  have  built  for 

her  this  magnificent  new  home 


'J'hc  shadow  of  a  star.  Gloria  in  silhouette 

against   one  of  the   beautiful  art  glass 

windows  in  her  new  home  at  Beverly  Hills, 

California 


SOMETIMES  I  think  she  is  just 
plain  dumb. 
Again,  I  am  amazed  and  delighted 
by  the  depth  and  brilliance  of  her 
intellect. 

At  moments  I  am  convinced  that  she 
is  a  complete  poseur. 

At  others,  I  find  in  her  an  appealing — 
almost  a  pathetic — simplicity. 

The  truth,  I  imagine,  is  somewhere 
between  the  two. 

For  Gloria  has  not  always  been  glori- 
ous.   Nor  famous.    Nor  rich. 

Only  a  few  years  ago  she  was  an  un- 
known, rather  homely  little  girl,  in 
most  ordinary  circumstances  in  life.      Not  much  romance  there. 

Dreams  come  true  in  an  overpowering  golden  magic  must  be 
a  bit  heady,  you  know. 

No  one  has  ever  told  us  how  the  ugly  duckling  felt  and  acted 
after  he  became  a  swan. 

It's  a  very  modern  version  of  the  ugly  duckling — the  story 
of  Gloria  Swanson  and  her  vivid,  comet  career.  But  the  basic 
plot  is  the  same — one  of  the  great  basic  plots  of  the  world.  The 
dream  of  beauty  come  true. 

And  that's  why,  to  me,  Gloria  Swanson  tugs  a  little  bit  at  the 

28 


heart  strings — even  when  she  is  most  haughty,  and  most  lux- 
urious and  most  exaggerated. 

There  is  no  star  in  Hollywood  who  lives  in  such  gilded  luxury 
as  Gloria  Swanson.  It  is  her  one  investment.  Nor  is  it  only  the 
peacock  silks,  the  velvet  carpets,  the  gleaming  silver  and  glass 
and  linens,  the  long  vistas  of  elegant  rooms,  filled  with  elaborate 
furniture  and  magnificent  tapestries  and  stately  paintings. 

Gloria's  home  is  the  home  of  a  great  lady.  Her  manner  of  life 
belongs  usually  only  to  women  of  wealth  and  fashion  and  im- 
mense social  prestige. 


Her  dinners  are  the  most  perfectly  ap- 
pointed in  the  world.  Her  servants  are 
the  last  word  in  correctness.  Everything 
about  her  moves  on  oiled  wheels.  Even 
the  vast  grounds  of  her  home  seem  to 
flower  in  profuse  but  well-clipped  gor- 
geousness  beyond  other  grounds: 

And,  within  this  background  of  richness 
and  beauty,  Gloria  herself  moves,  a  dis- 
tinguished and  exotic  figure. 

Much  has  been  written  and  said  and 
photographed  of  Gloria's  exotic  surround- 
ings. But  nothing  can  really  convey  to 
you  the  sumptuousness  of  her. 

Only — just  now  and  then — you  get  the 
impression  of  a  little  girl  playing  with 
long-coveted  toys.  A  cloud  of  wistful- 
ness.  A  flash  of  hardness.  An  overtone 
of  uncertainty. 

It's  all  rather  amazing — to  think  that 
by  sheer  beauty,  by  a  magnificent  loveli- 
ness of  face  and  figure,  one  woman  should 
have  taken  her  desires  from  the  laps  of  the 
gods. 

For,  you  see,  the  room  in  a  small  house 
in  Chicago  where  little  Gloria  Josephine 
May  Swanson  first  saw  the  light  of  day 
was  a  very  ordinary  room  indeed.  And 
except  to  a  young  and  ecstatic  mother  and 
a  non-committal  but  adoring  father,  small 

[  CONTINUED  ON  PAGE  104  ] 


Gloria  in  her  favorite  role  as  Gloria  Swanson 
herself.  Her  latest  photograph.  Below — Sur- 
rounded by  the  things  she  loves — all  of  which 
spell  luxury.  Miss  Swanson  in  her  boudoir, 
reflecting.    So  is  the  maid — in  the  mirror 


29 


Photoplay 

presents  here  a  great  news  story— an  explanation  of  the 
latest  inventions  in  motion  pictures — "glass  work," 
double  exposure,  double  printing  and  miniature  sets 


Does  the 


The  view  above  shows  how  much  of  the  tremendous  "Robin  Hood" 
set  really  was  built.  At  the  right  is  the  set  as  it  showed  on  the 
screen,  the  turrets  and  baltle7nents  being  added  by  painting  them 
on  glass  and  then  photographing  through  the  glass  as  shown  in 
the  drawings  on  the  opposite  page 

FATHER,  mother  and  the  kids  have  just  emerged  from  the 
Idle  Hour  Theater  and  are  strolling  leisurely  homeward. 
"Good  picture,"  says  father,  who  has  enjoyed  himself 
in  moderation. 

"Such  wonderful  scenery  and  settings,"  says  mother.  "That 
enormous  old  castle  and  that  beautiful  French  chateau.  I 
wonder  where  they  get  them  all." 

"Build  them,  I  guess,  or  go  where  they  are,"  opines  father, 
who  knows  nothing  whatever  about  it.  "Must  cost  a  heap  ot 
money  with  labor  and  material  what  they  are  now." 

If  he  is  commenting  on  the  scenery  or  settings  apt  to  be  seen 
in  almost  any  up-to-date  screen  production,  father's  opinion  is 
not  entirely  right  nor  is  it  completely  wrong.     It  is  a  little  of  each. 

Probably  he  would  be  surprised  to  learn  that  the  towering 
battlements  of  the  feudal  castle  were  painted  on  an  ordinary 
pane  of  glass,  no  larger  than  the  dining  room  window.  And 
that  the  scenes  of  the  beautiful  French  chateau  were,  for  the 
most  part,  no  more  than  photographs  or  a  photograph  of  a  real 
French  chateau.  Or  that  the  colossal  Egyptian  temple  and  its 
majestic  background,  stretching  away  over  a  vast  expanse, 
existed  nowhere  but  on  an  ordinary  painter's 
canvas,  size  four  feet  by  five. 

AND  yet  that  is  likely  to  be  the  case  in  almost  • 
any  picture  to  be  seen  today.  As  the  cine- 
matic art  and  science  progress  it  becomes  in- 
creasingly true  that,  on  the  screen  at  least,  things 
are  not  as  they  seem.  Film  producers  have  found 
that  illusion  is  generally  more  effective  than 
realism  and,  during  the  past  two  years,  have 
developed  amazingly  the  processes  and  devices 
for  making  their  illusions  as  perfect  as  possible. 
There  was  a  time,  and  not  so  long  ago,  when 
photography  was  regarded  as  a  bulwark  of  truth 

■30 


and  veracity.  The  camera  could  not  tell  a  lie.  In  the  fraction 
of  a  second  its  cold  scientific  eye  could  accurately  and  indelibly 
record  the  minutest  details  of  a  given  scene.  In  the  click  of 
a  shutter  it  could  take  in  more  infinitesimal  points  than  the 
human  eye  could  detect  in  an  hour.  Furthermore,  it  saw 
things  absolutely  as  they  were  and  there  was  no  effective 
method  of  changing  what  the  camera  had  seen.  These  facts 
applied  to  the  ordinary  "still"  camera  and  the  motion  picture 
camera,  as  well. 


T 


ODAY  the  motion  picture  camera  is  the  biggest  liar  in  the 
industrv — which  may  sound  like  a  terrific  indictment.     It 


Camera  Lie? 


Of  course  it  does ! 

By  lying  artistically  and  scientifically,  it  creates 
and  maintains  illusions  that  otherwise  would 
be  impossible  because  of  prohibitive  expense 


-.  -  i  ri 


lies  profusely,  glibly  and,  when  controlled  by  skilful  hands,  with 
amazing  conviction.  It  lies  to  millions  of  people  every  day  of 
the  month,  and  does  it  so  skilfully  that  only  a  handful  of  them 
know  it  is  not  telling  the  truth. 

It  tells  an  audience  of  several  hundred  intelligent  Americans 
that  the  hero's  horse,  with  the  hero  aboard,  has  leaped  fifty 
feet  across  a  bottomless  chasm  and  landed  safely  on  the  other 
side,  not  a  hair  of  the  hero's  head  out  of  place.  It  tells  them 
that  the  rushing  river  torrent  has  swept  away  the  trestle  and 
carried  the  passenger  train  with  it.  It  tells  them  that  the 
heroine  lives  in  a  magnificent  medieval  chateau,  and  even 
shows  her  entering  the  massive  front  door  on  her  way  to  get 
ready  for  supper. 


I'lnsi  three  drawings  show 
how  the  illusion  of  a  horse 
l<  a  ping  n  chasm  is  obtained 
by  the  "double  printing" 
process.  The  first  shows 
the  chasm;  the  second  the 
leaping  horse,  with  the 
ground  masked  out;  and  the 
third  the  two  printed  to- 
gether 


It  tells  them  these  things  and  hundreds  more  and  makes 
them  believe  it. 

How  can  they  help  but  believe  it?  They  have  seen  it  with 
their  own  eyes. 

It  was  there  on  the  screen  before  them.  It  could  not  pos- 
sibly have  been  otherwise. 

And  yet  it  was  quite  possible  that  the  hero  never  leaped  the 
chasm,  that  the  river  did  not  wash  out  the  trestle  and  wreck 
the  train,  and  that  the  chateau  wherein  resided  the  heroine  was 
never  built. 

It  sounds  very  foolish,  but  isn't  at  all  when  the  developments 
of  the  past  two  years  are  considered. 

ONE  of  the  most  baffling  problems  of  the  motion  picture 
producer  since  the  inception  of  the  art  has  been  to  secure 
accurate  and  adequate  scenic  and  architectural  backgrounds 
and  effects  without  exceeding  the  limitations  that  necessity 
imposed  on  the  new  industry.  If  he  were  to  make  a  story  with 
Paris  as  the  locale,  he  might  choose  one  of  two  courses — either 
go  to  Paris  and  film  his  picture  there,  or  build  reproductions 
of  the  necessary  Parisian  localities  on  his  studio  lot.  The 
former  method  was,  of  course,  ideal,  but  inconvenient  and 
costly,  sometimes  prohibitively  so.  The  latter  method  might 
suffice,  but  was  often  equally  costly  and  frequently  woefully 
inadequate,  for  no  one  could  expect  to  duplicate  the  Eiffel- 
Tower,  the  Arc  de  Triomphe,  Notre  Dame,  or  most  of  the 
other  typically  Parisian  landmarks. 

Exterior  settings  were  the  most  difficult  problem.  Interior 
sets  were  less  baffling,  as  they  could  be  constructed  on  a  studio 
stage  more  conveniently  and  less  expensively  than  elsewhere. 

When  production  of  stories  of  past  centuries  was  considered, 
there  was  nowhere  to  go  to  film  them.  For  a  long  time  many 
of  the  most  dramatic  and  popular  of  the  classics  were  elim- 
inated. Producers  could  only  helplessly  sigh  over  this  rich, 
but  unworkable,  mine  of  film  material. 

In  the  past  two  years  there  has  been  a  tremendous  change. 
The  Eiffel  Tower  is  a  cinch.  No  Parisian  picture  is  complete 
without  it.  Westminster  Abbey,  the  Houses  of  Parliament 
and  London  Bridge  can  be  made  ready  to  photograph  at  an 
hour's  notice.  There  is  scarcely  any  place  or  building  that 
cannot  be  duplicated — on  the  screen — if  a  little  time  is  allowed 
to  make  preparations.  , 

31 


AUDIENCES  have  marvelled  at  the 
scenic  beauty  of  such  films  as  "'Robin 
Hood."  "The  Prisoner  of  Zenda."  "Lorna 
Doone,"  "Trifling  Women."  "Omar,  the 
Tentmaker,"  "The  Voice  from  the  Min- 
aret." "The  Girl  of  the  Golden  West." 
and  many  others.  They  will  be  equally 
impressed  by  "The  Hunchback  of  Notre 
Dame,"  "Rupert  of  Hentzau,"  "The 
Talisman,"  and  a  dozen  more  which  will 
appear  in  the  coming  months. 

Id  all  of  these  pictures  the  camera  lied. 
It  showed  sets  that  were  never  built  and 
backgrounds  that  did  not  exist  except  on 
a  pane  of  glass  or  an  artist's  painting. 

"Trick"  photography  .is  today  playing 
a  more  important  part  in  screen  produc- 
tion than  ever  before.  Its  application 
and  use  is  becoming  general.  Probably 
one  picture  in  every  four  produced  con- 
tains some  sort  of  a  photographic  trick. 
In  most  cases  the  audience,  and  even  experts,  will  not  be  able 
to  detect  the  tricks,  but  they  are  there. 

Of  the  many  trick  devices  employed,  "glass  work,"  as  it  is 
called  in  studio  vernacular,  is  most  widely  in  use  at  present  and 
seems  to  be  most  productive  of  convincing  and  realistic  results. 
The  process  requires  a  somewhat  detailed  and  technical 
description.  As  an  example,  the  simplest  is  that  of  photo- 
graphing a  ceiling  on  a  set  that  has  no  ceiling. 

INTERIOR  sets — rooms,  stores,  assembly  halls,  ballrooms, 
and  the  like — are  never  constructed  with  ceilings.  Generally 
but  three  sides  of  them  are  erected  on  a  studio  stage,  the  fourth 
side  being  left  open  for  the  camera,  as  the  fourth  wall  of  a 
stage  setting  is  left  open  to  the  audience.  The  camera  always 
"cuts"  just  below  the  ceiling  line  so  that  the  top  of  the  picture 
is  just  below  the  ceiling — if  one  were  there.  There  is  a  neces- 
sary reason  for  the  absence  of  ceilings.  Interior  photography 
requires  a  tremendous  amount  of  light.     Much  of  this  light  is 


PHOTOPLAY  believes  that 
its  readers  are  interested  in 
all  phases  of  the  motion  pic- 
ture industry,  and  especially, 
perhaps,  in  new  and  start- 
ling developments  that  tend 
to  betterment  in  any  way. 
Some  of  the  most  radical  im- 
provements are  the  results  of 
study  and  experimentation 
by  camera  men  and  technical 
experts,  the  accompanying 
article  being  an  example. 


thrown  into  the  set  from  above — from 
powerful  hanging  arc  lamps  and  from 
spotlights  placed  on  platforms  arranged 
around  the  three  sides  of  the  sets,  just 
above  the.  ceiling  line.  Ceilings  would 
make  such  lighting  impossible  and  almost 
preclude  effective  and  distinct  photog- 
raphy. 

As  for  the  glass  and  its  use:  After  the 
set  is  completed  the  camera  is  placed  in 
position  and  securely  fastened.  The 
glass,  a  pane  about  six  feet  square,  is 
placed  a  few  feet  in  front  of  the  camera 
so  that  the  camera  must  necessarily 
"shoot"  through  it  in  order  to  photo- 
graph the  set.  Stand  a  few  feet  away 
from  your  dining  room  window.  Your 
position  corresponds  to  that  of  the  cam- 
era; the  window  is  the  glass.  Thirty  or 
fort\'  feet  beyond  the  window  is  the  set. 


LOOKING  through  the  glass,  you  would  see  not  only  the 
three  walls  of  the  set,  but  above  them  as  well — the  plat- 
forms supporting  the  lights  and  anything  beyond.  A  ceiling 
is  desired.  The  next  step,  therefore,  is  to  paint  on  the  glass — 
on  the  side  facing  the  camera — a  ceiling  that  matches  per- 
fectly with  the  three  walls.  The  detail  and  perspective  must 
be  absolutely  correct.  The  cornersof  the  walls  and  the  corners 
of  the  ceiling,  as  seen  from  the  camera  position,  must  be  in 
perfect  alignment.  y\fter  the  painting  is  completed,  if  you 
were  to  look  through  the  glass  at  the  set,  with  your  eye  at  the 


At  the  left  is  the  Cathedral  of  Notre. 
Dame,  Paris,  as  it  appears  in 
"The  Hunchback  of  Notre  Dame." 
The  jficture  above  shows  what  part 
of  the  cathedral  actually  was  built, 
the  rest  being  a  miniature  which  is 
perfectly  matched  by  the  camera 


position  of  the  camera  lens,  you 
would  find  that  the  painted 
ceiling  masked  out  the  light 
platforms  and  the  remainder  of 
the  background  and  that  the 
general  effect  was-  that  of  a 
completed  room. 

The  camera  makes  the  illu- 
sion perfect.  It  photographs 
the  ceiling  that  is  painted  on 
the  glass  and,  at  the  same  time, 
photographs  the  remainder  of 
the  set  which  is  visible  through 
the  clean  and  unpainted  por- 
tion of  the  glass. 

That  is  the  simplest  form  of 
"glass  work."  There  are  many 


38 


developments  and  variations.  If  a 
plain  ceiling  can  be  put  on  a  set,  it  is 
only  a  step  forward  to  beamed  ceilings, 
high  arched  ceilings  of  elaborate  de- 
sign, rotundas  or  any  other  interior 
coverings  that  may  be  desired.  Chan- 
deliers may  be  painted  on  the  glass  and 
electric  lights  placed  behind  them  to 
give  the  necessary  brilliance. 


EXTERIOR  scenic  effects  are  se- 
cured by  the  same  process.  When 
glass  is  used  out-of-doors,  it  is  only 
necessary  to  construct  a  setting  of 
sufficient  size  and  height  to  permit  the 
players  to  move  around  freely.  If  the 
painting  on  the  glass  is  too  low,  it  will 
mask  out  the  players  as  well  as  the 
background.  Ordinarily,  buildings  in- 
tended for  blending  with  glass  paint- 
ings are  constructed  to  the  height  of 
the  first  story.  The  painting  proceeds 
from  that  point,  and  may  go  to  any 
height  if  the  perspective  be  worked 
out  to  almost  any  distance 
in  the  background. 

There  was  a  certain 
amount  of  "glass  work"  in 
"Robin  Hood,"  despite  the 
fact  that  the  sets  were 
among  the  most  enormous 
ever  constructed.  Turrets, 
towers  and  battlements 
were  painted  on  glass  and 
matched  up  with  the  actual 
set  with  the  resulting  effect 
of  enormous  proportions. 
Not  all  of  the  turrets  were 
painted;  some  of  them  were 
real.  It  is  practically  im- 
possible to  distinguish  one 
I  from  the  other. 
The  opening  scenes  of 
Maurice  Tourneur's  "The 
Isle  of  Lost  Ships,"  depict- 
ing a  mythical  island,  the 
supposed  graveyard  of 
many  wrecked  vessels,  were 
almost  entirely  painted  on 


The  coronation  scene  from  "The  Prisoner  of  Zcnda."     The 

set  was  built  to  the  draperies  on  the  wall,  which  were  used  to 

hide  the  line.     The  rest  is  a  painting  on  glass — "glass  work," 

it  is  called  in  the  studios 


glass.     In  some  of  these  scenes  two  glasses  were 
utilized.     The  first  was  stationary  and  painted  to 
represent  the  island  and  its  piled  junkage  of  vessels. 
The  second  glass,  painted  to  represent  the  sea  with 
several   wrecked   hulks   floating,   half   sub- 
merged, was  moved  slowly  across  the  front 
of  the  camera,  giving  the  illusion  of  the  ships 
driftly  slowly  with  the  tide. 

IF  you  saw  Fred  Niblo's  production,  "The 
Famous  Mrs.  Fair,"  you  will  remember  the 
scenes  depicting  the  assassination  of  the  Arch- 
duke Ferdinand  in  the  village  of  Serajevo. 
Crowds  lined  the  streets  await- 
ing the  royal  procession.  Flags 
fluttered  from  the  second  story 
windows.  The  houses  of  the  vil- 
lage mounted  the  rising  hills  be- 
yond. The  street  and  the  people 
were  there,  the  fluttering  flags 
were  the  real  thing,  but  the 
quaint  houses  in  the  background 
were  painted  on  glass.  And  yet 
so  skilfully  was  it  done  that 
many  experts  were  unable  to 
distinguish  the  dividing  line  be- 
tween the  actual  buildings  and" 
the  painting. 

Rex  Ingram  and  other  noted 
directors  employ  another  method 
that  is  somewhat  similar.  In- 
stead of  placing  glass  paintings 

[  CONTINUED  ON  PAGE  115] 


Here  is  the  Whitehall  Chapel  in 
"Lorna  Doone,"  as  built.  When 
it  .showed  on  the  screen,  "glass 
work"  made  it  appear  fully  800 
feet  deep  and  put  in  a  set  of  mag- 
nificent stained  glass  windows 

83 


DOUBTLESS  the  most  popular  triumvirate  in  all  filmdom:  Lillian  and  Dorothy  Gish  and  James  Rennie, 
in  private  life  the  husband  of  "Dot."  This  portrait  was  taken  after  the  Gishes  were  reunited  upon 
the  return  of  Lillian  from  Rome,  where  she  had  been  occupied  for  many  months  in  making  F.  Marion 
Crawford's  "The  White  Sister."  Lillian  is  going  back  to  Italy  to  do  George  Eliot's  "Romola" — and  she  is 
taking  "Dot"  along  for  the  other  feminine  role.  We  wouldn't  be  at  all  surprised  if  Rennie  accompanied 
them,  to  play  the  chief  male  part.  Lillian  is  won  over  wholly  to  Italy — and  wants  to  live  there  when  she  can 
find  time  to  rest  and  dream.    So  she  is  looking  forward  to  "Romola."  which  is  to  be  "shot"  in  old  Florence. 


31 


Little  Farina 
registers  envy 
watching  Pro- 
ducer Hal  Roach 
with  his  chunk  of 
African  delight. 
But  Roach  and 
Fate  are  kind. 
And  Farina  re- 
in arks  —  "Hot 
Dog!" 


"Hot  Dog!" 

says  Farina 


Dusky,  two-year'old  Julian  Eltinge 
of  the  screen 
loves  the  art  and  watermelon, 
but — is  temperamental 


By  Herbert  Howe 


THE  air  was  charged  with  expect- 
ancy. 
We  were  awaiting  the  coming  of 
Little  Farina,  age  two,  the  Ethio- 
pian artiste  of  Hal  Roach's  kid  comedies. 

In  the  artistic  circles  of  the  studio  lot  she  is  oft  referred  to  as 
the  Pickaninny  Pola.     She's  temperamental! 

Time  after  time  she  has  refused  to  talk  to  interviewers. 

Knowing  this,  I  had  decided  to  propitiate  her  favor  with  a 
floral  offering.  Careful  inquiry  among  those  closest  to  her 
revealed  her  favorite  flower  to  be  the  watermelon.  Thus  a 
handsome  specimen,  shining  in  emerald  splendor,  rested  in 
front  of  me  as  I  sat  on  the  greensward  outside  La  Farina's 
dressing-room  door. 

She  had  kept  me  waiting  so  long  that  the  press  agent  was 
growing  dubious  as  to  the  success  of  our  decoy. 

Suddenly  she  appeared.  So  suddenly  that  the  first  inkling 
I  had  of  her  presence  was  when  something  hit  me  in  the  back, 
flopped  over  my  head  and  lay  squirming  on  my  lap,  a  felt  hat 
in  one  hand  and  a  lock  of  hair  in  the  other.  I  recognized  the 
hair  as  my  own.    The  hat  was  crushed  beyond  recognition. 

Then  two  eyes  rolled  up  at  me,  accompanied  by  a  grinning 
dazzle  of  ivory. 

"Hot  dog!"  said  Little  Farina.  "Hot  dog!" 

Then  beholding  the  watermelon,  she  let  out  a  jungle  yell  and 
embraced  it  passionately,  without  shame. 

Little  Farina  speaks  with  a  heavy  African  accent.  Even  her 
most  intimate  friends  find  it  difficult  attimes  to  understand  her. 
The  watermelon  rendered  her  absolutely  incoherent. 

'  AH  queries  as  to  her  views  on  art,  marriage  and  care  of  the 
complexion  met  with  the  same,  "ki  yi!  yi!  yi!  yi!  yi!" 

Even  this  meager  expression  was  stifled  shortly  by  a  piece 
of  watermelon,  above  which  her  eyes   rolled   ecstatically.     I 


have  attended  a  lot  of  parties  in  Hollywood,  but 
I've  never  seen  anyone  so  intoxicated  as  little 
Farina.  The  watermelon  literally  went  to  her 
head — and  encircled  it. 

This  much  at  least  may  be  said  for  Farina — she 
has  enthusiasm. 

The  first  day  she  arrived  on  the  studio  lot  to 

commence  her  histrionic  career,  she  rolled  her  eyes 

around   and  ejaculated,   "Hot  dog!"     It's   her 

comment  upon  all  occasions.     In  fact,  it  is  her 

philosophy.     Thus  to  her  associates  she  is  no  longer  Little 

Farina,  but  simply  Hot  Dog. 

She  takes  direction  easily.    No  rehearsals  are  required. 
"Roll  them  eyes,  Hot  Dog,"  says  Director  Mc  Gowan,  and 
Hot  Dog  rolls  'em  deliriously. 

.  When  she  finishes  a  scene  she  demands,  "0.  K.,  Gow'n, 
O.  K.?"  And  she  won't  be  put  off  until  McGowan  assures  her 
it  is  0.  K. 

Thus  assured,  it  is  her  custom  to  let  out  a  wild  "ki  yi!  yi!" 
running  about  in  circles  of  jungle  rapture  until  she  falls  on 
her  ear. 

Yes,  it  must  be  said  for  Farina  that  she  has  enthusiasm. 
Yet,  she  is  not  without  her  whims  and  determination.  Pola 
Negri  has  been  known  to  walk  off  the  set  with  the  curt  expla- 
nation that  she  is  sick  and  must  go  see  doctor.  Farin  i  is  equally 
curt.  She  says,  "Me  tired,"  and  walks  away,  not  to  return 
until  the  next  day. 

In  one  of  her  scenes  she  was  to  be  hit  in  the  face  with  a  pie 
covered  with  whipped  cream.  Director  McGowan  threw  the 
pie  and  missed  her.  He  threw  it  a  second  time,  and  missed 
again.  The  strain  was  beginning  to  tell  on  Farina,  and  when 
he  made  his  third  failure,  she  held  up  her  hand:  "At's  all, 
Gow'n,"  and  off  she  walked. 

Nor  will  any  power  of  persuasion  get  her  to  act  if  anyone  is 
standing  behind  her.  She's  extremely  suspicious.  She's  been 
fooled  so  often  by  comic  tricks. 

And  she's  also  superstitious,  instinctively. 

Director  McGowan  placed  a  skeleton  on  the  set  one  day  for. 

35 


comic  effect  in  a  scene  where  Farina 
was  to  appear.  As  she  made  her 
entrance,  she  espied  it.  stopped 
dead  still,  her  eves  rolling  fearfully. 
"Whu's  that.  Gow'n,  Wha's  that?" 

The  director  took  down  the  skele- 
ton and  advanced  toward  her. 
thinking  to  show  her  that  there  was 
no  menace.  "Wow!"  shrieked  Fa- 
rina, her  pigtails  bristling.  "Wow. 
wow.  wow!"  And  lied  off  the 
stage.  There  was  no  more  work 
that  day. 

Another  time  she  w^as  directed  to 
take  a  drink  of  water  out  of  a  flask 
and  spit  it  on  the  floor.  Just  as  she 
spit,  a  little  burst  of  powder  was 
ignited,  making  it  appear  that  the 
stuff  she  had  been  drinking  was  ex- 
plosive. The  effect  was  perfectly 
convincing  so  far  as  Farina  was  con- 
cerned. Terrified,  she  grasped  her 
tummy,  as  though  she  expected  it 
also  to  explode,  and  let  out  frantic 
wails  for  her  mammy. 

But  now  that  she  is  getting  old 
enough  to  understand  the  business, 
her  director  is  gradually  gaining  her 
confidence  by  explaining  everything 
to  her. 

She  goes  to  the  projection  room 
to  see  all  the  comedies  run  off  and. 
as  the  kids  appear  on  the  screen,  she 
yells:    '"Lo,    Mickey!    'Lo,    Jack!     Hot  dog!" 

After  witnessing  a   recent  comedy  in  which  she  appears, 
Farina  came  to  the  director  with  a  great  deal  of  troubled  jab- 


Fniina  warded  to  play  white-face,  no  wan  made 
up  with  marshmallow  paste.  But  Farina  had 
to  wait  ten  minutes  for  the  camera,  during 
which  time  <<he  off  the  make-up.     Hot  Dog! 


bering.  It  seems  she  felt  she  was 
not  getting  exactly  a  square  deal 
from  the  camera  man.  She  was 
being  photographed  too  dark.  She 
wanted  to  look  like  the  other  kids. 
So,  for  comic  effect  in  a  picture, 
Director  McGowan  whitened  her 
face  with  a  marshmallow  paste. 
Farina  was  delighted,  but  before 
her  first  scene  was  over  she  had 
practically  regained  her  normal 
color.  The  makeup  was  so  much 
to  her  liking  she  had  licked  it  off 
as  far  as  she  could  reach. 

Following  our  watermelon  orgy. 
Farina  ran  around  the  lawn  in  cir- 
cles, lurching,  tumbling  and  yipping 
like  a  wild  animal.  When  anyone 
attempted  to  capture  her  she  didn't 
hesitate  to  bite  with  the  same  ardor 
she  had  loosened  on  the  melon. 

Seizing  her  finally  by  one  of  the 
pigtails  that  sprout  at  sharp  angles 
from  her  head,  I  demanded  to  know 
if  she  was  ambitious  to  become  the 
pickaninny  Pickford,  or,  possibly, 
leading  lady  for  Jackie  Coogan. 

"What  do  you  want  to  be  when 
you  are  a  big  girl?"  I  demanded 
desperately. 

"Hot  dog!"  she  hooted  scorn- 
fully.   "Hot  dog!   Me  boy!" 

And  then  I  learned  that  La  Fa- 
rina oft"  screen  is  Allen  Clayton  Hoskins,  son  of  Mistah  Hoskins, 
"de  see-ment  contracoh." 

Well,  the  screen  certainly  has  a  great  sheik  inHot  Dog  Hoskins ! 


Jackie  Coogans  business  partners  hold  a  meeting 


^-UftNN 


Drawing  by  Wynn  Holcomb 


Chorus: — "Be  careful  and  don't  hurt  his  contract1 


36 


The 

GIRL 

on  the 

Cover 


Yes,  they  can 

make  stars 

when  they  have  the 

right  material 


By 
Mary  Winship 


WELL,  really! 
That  Eleanor 
Boardman! 
Of  course,  I  know 
that's  no  way  to  begin  a  story. 

But  I  can't  help  it.  That's 
exactly  the  way  I  feel. 

What  I  mean  to  say  is, 
she's  an  entirely  new  experi- 
ence to  me. 

The  history  of  the  experi- 
ment tried  with  Eleanor 
Boardman  has  been  interest- 
ing gossip  for  some  time  on 
the  Boulevard. 

And  her  name  was  becom- 
ing quite  well  known  to  Hol- 
lywood and  to  the  screen 
public  when  I  lunched  with 
her  the  other  day. 

All  signs  pointed  to  star- 
making  in  her  case. 

But  still,  I  hardly  expected 
to  find  a  young  person  of  such 
poise,  such  indifference  and 
such  decided  views  about  life. 

As  a  matter  of  fact,  I  don't 
think  I  ever  before  in  my  whole  life  met  anyone  quite  so  assured, 
so  confident,  so  entirely  settled  in  her  own  mind  about  every- 
thing there  is. 

It  isn't  conceit.  It  isn't  swell-head  over  her  success.  It's 
only  a  definite  purpose,  definitely  laid  out  and  not  to  be  inter- 
fered with. 

She  is  one  of  the  baby  stars  selected  by  the  press  agents  as  a 
coming  screen  luminary. 

I  know  most  of  them.  Shy,  drawling  little  Jobyna  Ralston; 
demure,  nervous  Dorothy  Devore;  human,  excitable  Pauline 
Garon.  I  expected,  I  suppose,  something  like  that  from  this 
other  "baby"  star.    But  I  was  mistaken. 

She  possesses  the  combined  poise  of  a  Follies  queen,  a  traffic 
cop  and  a  cash  girl  in  a  department  store. 

A  young  woman  who  would  not  be  apt  to  let  anyone  or  any- 
thing— even  her  own  desires — stand  in  the  way  of  accomplish- 
ment. The  kind  of  a  girl  who  sees  clearly  the  sacrifice  of  pleas- 
ure and  time  and  self  necessary  for  real  screen  success  and  is 


Eleanor  Boardman  possesses  the  combined  poise  of  a  Follies  queen,  a 
traffic  cop  and  a  cash  girl  in  a  department  store — a  strange  baby  star 


perfectly  willing  to  make  them.  Who  understands  the  hard 
work  ahead  and  does  not  flinch. 

A  strange  combination  of  Greenwich  Village,  Philadelphia 
(her  birthplace),  and  New  York  theatrical  life. 

Her  eyes  are  gray  green  and  interesting.  Her  mouth  is  too 
thin  for  beauty,  but  intensely  expressive.  Her  skin  is  white, 
but  warm. 

Just  an  inch  might  have  transformed  her  into  a  typical  Phila- 
delphia school-ma'am.  But  the  miss  is  as  good  as  a  mile — 
perhaps  a  little  more  intriguing. 

Eleanor  Boardman  is  an  experiment  that  worked. 

A  couple  of  years  ago,  when  one  of  the  big  companies  was 
desperately  in  need  of  new  talent  and  on  a  search  for  new  screen 
faces,  they  sent  Bob  Mclntyre,  casting  director,  on  a  hunt  for 
a  girl.      . 

The  idea  was  to  select  someone,  not  for  beauty  alone,  but  for 
screen  personality,  latent  dramatic  ability,  and  brains,  who 
might  be  developed  into  a  screen         [  continued  on  page  124  ] 

.17 


Camp  Cecil  B.De 
Millc. where  Para- 
mount is  making 
''The  Ten  Com- 
mandments." 'I'ln 
lent  city  and  loca- 
tion seta  cover 
twenty-four  square 
miles  and  houst 
2.500  people  and 
3,000  animals 


At  left — The  two  forces  that 
have  symbolized  the  battle 
of  life  through  all  ages. 
Charles  de  Roche  as 
Rameses,  and  Theodore 
Roberts  as  Moses 


Making 

the 

DeMille  Version 

of  the 


Ten  Commandments 


Building  the  apj/roach  to  the 
Palace  of  Pharaoh.  Each  of 
the  basis  in  the  foreground  will 
in  topped  by  a  5-ton  Sphinx, 

making  an  an  our  of  Sjihiii.ri s. 

The  entire  set  is  t, 000 feet  wid\ 

and    UK)  feet    high.      It    is    all 

built,   there   bring    no   "glass 
work"  nor  miniature  sets 


88 


A  hove  —  Workingmen  placing 
the  head  on  one  of  the  mam- 
moth, five-ton  Sphinxes  which 
line  the  avenue  of  approach  to 
the  palace.  What  a  lot  of  labor 
could  hare  been  Raved  the  sub- 
jects of  the  Pharaohs  if  they  had 
but  known  the  engineering 
methods  of  today 


Director  Cecil  DeMille  using  a 
field  telephone,  which  extends 
to  every  nook  and  corner  of  the 
gigantic  tent  city.  The  opera- 
ting set  is  dragged  over  the  sand 
on  a  sled  by  the  boy,  and  the 
director  has  it  always  beside 
him. 


.  \  a  idea  of  (he  size  of  the  sets  may 
be  had  by  comparing  these  images 
with  Charles  de  Roche,  who  stands 
between  them.  He  is  six  feet  three 
inches  tall,  and  appears  a,  pigmy 


39 


Love 

Let  Love 


By 
Octavus  Roy  Cohen 


MISS  BERENICE  ROGERS  started 
for  work  one  half  hour  ahead  of 
time.  Two  blocks  from  her  board- 
ing house  she  paused  before  a  win- 
dow of  a  confectionery  shop  and  regarded 
herself  critically  in  the  mirror  which  served 
to  accentuate  the  lusciousness  of  that  which 
was  displayed  before  it.  Nor  did  the  mirror, 
in  this  particular  case,  find  unwelcome  the 
task  imposed  upon  it  by  Berenice. 

Berenice  glimpsed  with  not  inconsiderable 
satisfaction  the  vision  of  a  young  girl  to 
whom  pulchritude  was  a  gift  and  not  an  art. 
She  was  slender  and  her  blondeness  was  vivid 
without  being  aggressive.  From  pert  little 
hat  to  the  hem  of  her  new-  skirt  the  effect  was 
eminently  satisfactory,  but  there  she  paused 
and  a  slight  frown  appeared.  Finally  she 
turned  homeward. 

"I  knew  them  clocked  hose  wasn't  the 
right  things  for  this  occasion,"  she  informed 
herself  positively. 

Twenty  minutes  later  the  offending  clocks 
had  been  discarded  in  favor  of  a  pair  of  sheer 
chiffon  stockings  which  did  not  unduly  con- 
ceal certain  attractive  portions  of  Miss 
Rogers'  anatomy.  She  once  again  made  her 
exit  from  the  rather  dingy  structure  in  which 
she  boarded  and  headed  for  the  heart  of  the 
city. 

More  than  one  pair  of  masculine  eyes  were 
turned  approvingly  upon  the  trim  little  fig- 
ure as  it  swung  self-reliantly  into  the  movie  rialto.  But 
Berenice  was  not  of  a  flirtatious  type;  besides,  on  this  auspicious 
morning  her  mind  was  not  busy  with  thoughts  of  local  swains. 
Her  eye  fell  eagerly  upon  the  multi-colored  banner  which  was 
flaunted  proudly  before  the  ornate  columns  of  the  Parthenon 
Theater,  The  People's  Most  Popular  Playhouse. 

This  banner  bore  proud  tribute  to  the  abilities  of  a  local 
sign-painter.  In  bold  letters  it  proclaimed  to  all  and  sundry 
that  commencing  at  the  two  o'clock  performance  that  after- 
noon, and  thrice  daily  thereafter,  Mr.  Cyril  Harrington,  star 
of  stars,  sheik  of  sheiks,  most  superlative  of  screen  lovers, 
would  appear  in  person,  admission  fifty  cents. 

Berenice  approached  the  theater  and  paused  spellbound 
before  the  displays  which  transformed  the  ample  lobby  into  a 
mammoth  advertising  section.  A  trio  of  enormous  frames, 
containing  countless  stills,  fascinated.  These  pictures,  selected 
with  great  care  by  the  publicity  department  of  the  company 
for  which  Cyril  sheiked,  exposed  to  the  public  gaze  the  young 
gentleman  in  question  in  the  various  poses  which  are  commonly 
supposed  to  be  connected  with  violent  lovcmaking. 

He  was  plentifully  displayed  in  the  nightgown  and  turban 
of  an  Arabian  monarch,  his  arms  filled  with  girl,  his  expression 

w 


A  famous 

Shei\ 

of  the  Screen 

was  actually 

afraid  of 

women — 

but  the 

little 

boxoffce 

girl  of  the 

Parthenon 

Theater 

cured  him. 


Illustrated  by 
C .    F  .    Church 


: 


one  of  relentless  passion.  The  young  lady  in  his  arms  seemed 
to  be  torn  with  anxiety  lest  remorse  should  strike  him  before 
it  was  too  late.  Other  views  from  the  same  Mammoth  and 
Magnificent  Feature  Film,  the  Sensation  of  Two  Continents, 
indicated  clearly  that,  as  a  desert  overlord,  Mr.  Cyril  Harrington 
was  not  only  generous  in  his  distribution  of  affection  but  also 
that  he  was  an  exceedingly  good  picker.  That  one  set  of 
views  alone  established  clearly  and  immediately  his  claim  to 
the  title  of  champion  osculator  of  the  known  world. 

Another  assortment  of  pictures  demonstrated  that  while  a 
flint-souled  director  might  grab  Cyril  from  the  desert  and  fling 
him  suddenly  into  the  social  swirl  of  Fifth  avenue,  Newport, 
Long  Island  and  points  east,  he  could  not  deprive  him  of  his 
amatory  proficiency.  This  set — culled  from  the  five-rccler  on 
display  at  the  Parthenon  during  the  personal  appearance — 
evidenced  unmistakably  that,  whatever  Cyril's  clothes  might 
be,  he  was  none  the  less  there  when  it  came  to  exacting  his  toll 
of  affection  from  whatever  lady  happened  to  be  in  his  vicinity. 

The  advent  of  Cyril  was  bidding  fair  to  disturb  the  tran- 
quillity of  many  a  home  in  this  particular  city  for  the  week  of 
his  visit.  Pallid  wives,  not  yet  reconciled  to  the  knowledge 
that  when  a  honeymoon  ends  it  ends,  were  determined  unani- 


CyrilHarrington,  sheik  of  sheiks, in  one  fell  swoop,  had  demon- 
strated beyond  cavil  that  all  of  the  masculine  heroes  of  the  past 
were  flabby  indeed  when  it  came  to  impressing  themselves 
upon  the  coy  and  reluctant  female  of  the  species.  He  loved 
frequently  and  inexorably — on  the  screen 


mously  to  glimpse  in  person  a  man  wnose  ardor  remained 
perpetually  at  108  degrees  Fahrenheit,  with  the  accent  on  the 
last  syllable.  Many  of  them  had  planned  to  accompany  them- 
selves with  their  husbands  in  order  that  these  lukewarm 
gentlemen  might  be  shamed  into  a  desperate  attempt  to  revive 
the  ardor  of  early  marriage. 

Cyril  Harrington  was  a  film  star  newly  created.  He  had 
blazed  across  the  motion  picture  firmament  as  the  hero  of  a 
hectic  novel  from  the  pen  of  a  maiden  lady  who,  thwarted  in 
love,  had  placed  upon  the  printed  page  a  graphic  description 
of  the  various  things  she  was  regretful  had  not  happened  to  her. 

And  Cyril  had  made  good!  In  one  fell  swoop  he  had  demon- 
strated beyond  cavil  that  all  of  the  masculine  heroes  of  the 
past  were  flabby  indeed  when  it  came  to  impressing  themselves 
upon  the  coy  and  reluctant  female  of  the  species.  He  loved 
frequently  and  inexorably.     The  lady  who  happened  to  be  the 


object  of  his  desires  didn't  have  any  more  chance  than  a  colored 
gentleman's  final  chicken.  As  a  screen  lover  Cyril  had  estab- 
lished records  which  weak  imitators  were  destined  to  shoot  at 
ineffectually  for  many  years  to  come. 

For  perhaps  fifteen  minutes  Berenice  Rogers  stood  enthralled 
before  this  pictorial  display  of  Mr.  Harrington's  Anacreontic 
powers.  A  profound  sigh  agitated  the  crepe  de  chine  of  her 
shirtwaist.  She  was  gripped  with  intense  excitement  at  the 
very  thought  that  she  stood  within  the  confines  of  the  same 
municipality'with  this  dominant  male.  The  fact  that  he  was  to 
appear  three  times  a  day  in  the  theater  from  which  she  drew  her 
weekly  stipend  .  .  . 

She  reluctantly  tore  herself  away  from  the  exhibition,  entered 
the  theater,  made  her  way  into  the  cubbyhole  of  a  box  office, 
hung  her  hat  upon  a  hook  and  deftly  arranged  the  supply  of 
change  allotted  her  at  the  beginning  of  each  working  day.  She 
threaded  the  rolls  of  tickets  into  the  proper  slots,  sat  back  in 
her  high  swivel  chair  and  awaited  the  early  comers. 

From  overhead  came  the  preliminary  hissing  of  the  projecting 
machine  as  the  operator  tuned  up.  The  ticket-taker  strolled  in 
and  took  his  place  at  the  door.  A  few  persons,  having  nothing 
else  in  particular  to  interest  them,  purchased  tickets  and  seated 

hi 


4 


"Busy?"  inquired  Cyril. 
"Nope,"  answered  Bere- 
nice. "Come  in.  It's  a 
tight  squeeze — but  that  ain't 
no  novelty  for  you  " 


themselves  within  the  first  run  of  the  new  Cyril  Harrington  pic- 
ture, "The  Wizard  Woman."  And  then,  despite  the  fact  that 
the  lobby  was  thronged  with  women  who  missed  no  detail  or  pose 
of  the  pictured  Mr.  Harrington,  box  office  business  became 
somewhat  slack  and  Berenice  settled  back  in  thought. 

Berenice  was  not  in  love  with  a  screen  hero:  she  was  entirely 
too  level-headed  for  such  an  utterly  silly  proceeding,  but  she 
did  admit  frankly  to  herself  that  he  was  precisely  the  type  of 
man  she  could  very  readily  succumb  to.  He  was  an  ideal  for 
which  she  vainly  hunted  among  her  male  acquaintances.  And 
they,  poor  fellows,  struggled  futilely  to  live  up  to  her  standards. 
They  were  a  good  enough  sort  and  they  numbered  legion  .  .  . 
Berenice  had  her  choice  from  a  hundred,  but  none  of  them  even 
approached  her  idea  of  the  man  for  whom  she  wished  to  keep 
house  the  balance  of  her  natural  life. 

The  tiny  door  at  her  elbow  opened  and  a  young  man  ap- 
peared. He  was  a  slender  young  chap,  clad  expensively  but 
quietly  in  an  unobtrusive  suit  of  dark  grey.  Berenice  turned, 
somewhat  annoyed  by  this  interruption  of  her  reverie. 

"Well,"  she  inquired,  "whatcha  want?" 

A  slow  smile  creased  the  lips  of  the  visitor.  "Is  there  any 
mail  here  for  Mr.  Cyril  Harrington?" 

The  sheer  magic  of  the  name  riveted  Berenice's  attention. 
She  favored  the  intruder  with  a  more  interested  glance. 

"Are  you  his  secretary?"  she  inquired  eagerly. 

He  shook  his  head  slowly.     "No.     I'm  Mr.  Harrington." 

She  turned  away.  "Pleasedt'meetcha,  Cyril.  I'm  Helen  of 
Troy." 

A  momentary  frown  appeared  on  the  forehead  of  I  he  young 
man.  and  then  he  laughed  outright.   "lam — really,"  he  insisted. 

"  Sure  you  are.  And  when  you've  finished  kidding  me,  please 
clear  out.    This  is  my  busy  day." 

"You  mean  you  don't  believe  I'm  Harrington?" 

"Sure  I  do,  buddy;  sure  I  do.  I'd  believe  you  was  Charley 
Chaplin  if  you  ast  me  to." 


"Oh!  well,"  he  grinned,  "have  it  your  own  way.  But  I  really 
did  want  my  mail." 

He  turned  away  and  she  gave  her  attention  to  two  inquisitive 
spinster  ladies  who  demanded  to  know  whether  Cyril  Harring- 
ton's first  personal  appearance  would  actually  be  at  two  o'clock. 
Berenice  permitted  her  mind  to  return  to  the  young  man  who 
had  requested  Cyril's  mail.  Rather  nice-looking  young  fellow; 
she  instinctively  liked  him.  But  what  in  the  world  did  he  mean 
by  claiming  to  be  Harrington? 

"Trying  to  get  fresh,"  she  told  herself.  "But  I  kinder  like 
him  anyway." 

A  few  minutes  later  the  manager  of  the  Parthenon  swung 
into  the  building.  He  was  a  stumpy,  cocksure  individual  im- 
mensely impressed  with  himself  and  Berenice  could  hear  his 
squeaky,  unpleasant  voice  quavering  through  the  almost  empty 
theater.  Eventually  the  door  to  her  office  opened  and  the  bald 
head  was  shoved  within. 

"Busy,  Miss  Rogers?" 

"Nope." 

"C'mere.    I  want  you  to  meet  Mr.  Harrington." 

Berenice  made  a  final  desperate  pat  at  her  nose.  She  was 
trembling.  So  she  was  finally  to  clasp  the  hand  of  the  screen's 
most  passionate  actor.  She  found  herself  gazing  into  a  familiar 
face  and  a  pair  of  laughing  brown  eyes.  As  from  a  great  distance 
she  heard  a  soft,  well-modulated  voice. 

."I've  already  met  Helen  of  Troy." 

She  could  not  instantly  readjust  herself  to  the  situation. 

"My  Gawd!"  gasped  Berenice,  "Are  you  him?" 

He  bowed.    "I'm  him.    And  are  you  her?" 

"No,"  she  retorted,  "I  aint.  I'm  a  sap."  Then  her  unfailing 
fund  of  humor  came  to  the  rescue  and  she  threw  back  her  head 
and  laughed.  "Great  Grandmother!  didn't  I  pull  a  bone? 
Just  a  minute — here's  your  mail." 

The  pompous  little  manager  stared  from  one  to  the  other  in 
bewilderment. 


"You-all  know  one  another?"  he  queried  amazedly. 

"Sure,"  answered  Harrington,  "We're  old  friends." 

"  Well  I'll  be —  Say,  Miss  Rogers,  why  didn't  you  tell  me  you 
was  acquainted  with  this  gent?" 

"Because,"  she  giggled,  "I  wasn't  sure  that  I  was." 

She  returned  to  her  sanctum  while  the  manager  completed 
his  tour  of  introduction.  Berenice's  head  was  in  a  whirl.  She 
felt  a  bit  frightened  and  utterly  bewildered.  Not  in  a  moment 
could  she  reconcile  herself  to  the  fact  that  this  unassuming 
young  fellow  was  in  reality  the  supreme  lover  of  the  screen 
world.  She  welcomed  the  opening  of  her  door  and  the  insin- 
uation of  his  head  within. 

"Busy?"  inquired  Cyril. 

"Nope.  Come  in.  It's  a  tight  squeeze — but  that  ain't  no 
novelty  for  you." 

He  lounged  against  the  wall  and  regarded  her  amusedly. 

"Are  you  convinced  now?" 

"Not  quite.  I  guess  I'm  a  nut.  Perhaps  I  was  looking  for 
the  turban  and  the  lingerie  you  wore  in  'Desert  Death'." 

He  made  a  grimace  of  distaste.  "That  picture?  W'asn't  it 
terrible?" 

"It  was  grand.  But  say — you  don't  look  like  that  at  all. 
You  look  as  if  a  pair  of  girl's  lips  would  scare  you  to  death." 

"They  would,"  he  confessed. 

"Aw!  vou  don't  mean  it." 

"I  do— really." 

"You  ain't  a  gay  Lothario  in  real  life?" 

"No — I'm  sorry  to  say." 

She  shook  her  head.  "It  ain't  so,"  she  asserted.  "Nobody 
couldn't  make  love  like  you  do  unless  he  was  a  genius.  You 
can't  fake  that  masterful  stuff." 

"How  do  you  know?" 

"Some  of  my  gent'man  friends  have  tried  it. 
If  they  was  the  real  stuff  they  might  have  got 
away  with  it,  too.  But  the  minute  I'd  slap  their 
faces  they'd  quit.  Now  I  remember  in  your  pic- 
ture 'Midnight  Love'  that  blonde  girl  clouted 
you  with  a  hammer  or  something  but  you  didn't 
leave  go  until  she  had  been  thoroughly  kissed." 

"I  knew  it  was  all  pretense,"  he  explained.  "I 
knew  in  advance  everything  was  set.  Ordinarily 
that  particular  young  lady  wouldn't  hit  anybody 
with  a  hammer  for  trying  to  kiss  her." 

"But  the  way  you  done  it — you  acted  like  a 
vet'ran." 

He  lowered  his  voice.  "I'll  tell  you,  Miss 
Rogers,  my  success  as  a  screen  lover  has  been  the 
result  of  suppressed  desires." 

"Of  which?" 

"Suppressed  desires.     I've  always  wanted  to 
be  a  bearcat  of  affection  and  never  had  the  nerve. 
So    when    that    first    director 
turned  me  loose  on  a  flock  of 
pretty  girls,  I  went  to  it." 

"I'll  say  you  did." 

"  But  actually,  I  haven't  any 
more  nerve  with  women  than 
a  cross-eyed  man  at  a  fashion 
show.  Tell  the  truth,  I'm 
scared  to  death  of  'em." 

"  You're  a  kidding  fool,  ain't 
you,  Cyril?" 

"I'm  handing  it  to  you 
straight." 

"Sure,  but  what  you're 
handing  is  bull." 

"All  right — have  it  your  own 
way."  He  tore  open  an  en- 
velope but  his  eyes  did  not 
leave  her  face.  "  Do  you  know 
that  vou  are  a  very  pretty 
girl?  "' 

"You  ain't  so  awful  slow," 
was  her  answer. 

»"You  are,  really;  one  of  the 
prettiest  girls  I  have  ever  met." 
"Also,"  she  retorted,  "I  am 
poor  but  honest;  so  dog-goned 
honest  that  life  ain't  flowing 
with  Worcestershire  sauce.  I've 
got  pep — with  discretion.  And 
I  ain't  in  the  habit  of  being 


kissed  and  I  don't  accept  invitations  to  no  midnight  suppers  at 
roadhouses." 

"That's  line,"  he  chuckled,  "because  you've  saved  me  the 
trouble  of  a  whole  lot  of  investigation." 

The  manager's  voice  shrilled  through  the  lobby,  demanding 
to  know  the  whereabouts  of  his  distinguished  visitor.  It 
appeared  that  the  movie  editor  of  a  certain  local  newspaper 
had  come  to  the  theater  for  the  express  purpose  of  securing  an 
interview.  Through  the  half-open  door  Berenice  gave  her  ear 
to  the  conversation  between  the  movie  star  and  the  interviewer. 

The  newspaper  man  was  fully  six  feet  in  height;  straight  as 
a  ramrod  and  very  sure  of  himself.  Beside  him,  Cyril  Harring- 
ton appeared  unduly  small.  Too,  he  had  very  little  to  say, 
leaving  most  of  the  discussion  to  the  newspaper  man  and  the 
garrulous  manager.  It  was  only  when  Cyril  expressed  a  fond- 
ness for  golf  that  he  and  the  interviewer  seemed  to  get  really 
close  together.  A  match  was  promptly  arranged  for  the  follow- 
ing afternoon.  Then  Cyril  departed  for  his  hotel  and  within 
earshot  of  Berenice,  the  newspaper  man  and  the  manager  dis- 
cussed the  distinguished  visitor. 

"Gee!"  complimented  the  reporter,  "that  guv  is  a  regular 
fellow." 

"He's  a  nut,"  snapped  the  disappointed      [cont'd  on  page  111] 


Berenice  throttled  mi  almost  over-powering 
impulse  to  fling  herself  again  in  his  arms. 
A  sense  of  outrage  vanquished  the  tem- 
porary happiness.  Her  voice  came,  cold 
and  hard — but  trembling.  "I'm  sorry," 
she  said  softly.    "  And  ashamed  " 


hS 


What  do  they  Earn  today'r 


? 


The  rise  in  salaries  has  caused 
a  new  financial  rating  in  the  movie  world 


HOLLYWOOD  is  truly,  the  modern  Bagdad  of  magic- 
fortunes. 
Beggars  of  yesterday  are  princes  today. 
It's  the  land  of  Get-Rich-Quick  Youth.     Nowhere 
on  earth  at  any  time  was  youth  so  richly  rewarded. 

A  few  years  ago  Mary  Pickford  earned  seventy-five  a  week. 
Now  she  is  a  multi-millionaire.     And  still  a  girl. 

There  has  been  a  phenomenal  rise  in  salaries  during  the  past 
year,  hence  a  new  financial  rating. 

Players  may  be  divided  into  three  financial  classes: 

Stars  who  produce  independently  and  sell  their  pictures  to 
distributing  companies. 

Stars  employed  by  producing  com- 
panies under  contract  at  a  stipulated 
salary. 

And,  third,  players  who  free  lance, 
working  from  company  to  company  at 
whatever  salaries  they  can  get. 

The  leading  independents  — ■  those 
who  make  their  own  pictures  —  are 
Harold  Lloyd,  Douglas  Fairbanks, 
Charlie  Chaplin,  Norma  Talmadgc, 
Mary  Pickford,  Constance  Talmadge 
and  Charles  Ray. 

Chaplin,  Fairbanks  and  Mary  Pick- 
ford  have  their  own  distributing  organ- 
ization, selling  their  pictures  directly 
to  the  theaters. 

Lloyd,  Ray  and  the  Talmadges  sell 
their  product  to  distributing  compa- 
nies, receiving  a  certain  amount  stipu- 
lated by  contract  plus  a  percentage  of 
the  profits  earned  by  the  pictures. 

When  Charlie  Chaplin  made  his 
famous  million-dollar  contract  in  1917 
with  First  National,  many  people  were 
under  the  impression  that  he  received 
a  cold  million  for  simply  acting  in  pic- 
tures for  a  year.  In  reality,  Chaplin 
produced  the  pictures  at  his  own  ex- 
pense.  Thus,  out  of  the  million,  he 
paid  his  supporting  players,  camera 
men,  studio  employees  and  all  the 
overhead  of  his  studio.  It  was  the 
largest  contract  ever  made  up  to  that 

time — and  the  most  profitable  for  the  distributing  company. 
Chaplin's  pictures  earned  tremendous  profits  over  the  million 
paid  him. 

Harold  Lloyd  during  the  past  year  received  a  million  and  a 
quarter  from  Pathe  for  his  pictures.  He  has  probably  cleared 
a  quarter  of  a  million  or  more  for  himself. 

In  1919  Norma  Talmadge  made  eight  pictures  for  First 
National  for  which  she  received  $1,280,000,  or  $160,000  for 
each  picture.  Her  profit  was  probably  between  a  quarter  and 
a  half  million.  The  next  year  she  agreed  to  deliver  twelve 
pictures  at  S350,000  each  and  a  percentage  of  the  net  profit. 
The  cost  of  these  pictures  has  been  estimated  at  $200,000. 
Thus  Norma  earns  well  over  two  million  on  the  contract. 

The  rise  in  her  earning  power  is  indicative  of  her  increase 
in  popularity. 

Constance  Talmadge  received  $110,000  each  for  her  pictures 
in  1919,  and  in  1920  made  twelve  pictures  at  $300,000  each. 
Like  Norma,  she  paid  the  cost  of  production. 

Anita  Stewart  made  eight  pictures  which  brought  $720,000 
under  her  contract  with  First  National,  recently  expired. 
Anita  now  is  under  contract  with  Cosmopolitan  at  a  fixed 
salary. 

When  Katherinc  MacDonald  finished  her  contract  with  First 

u 


1  I  'HE  independent  makers  of  pic- 
•*■  tures — Harold  Lloyd,  Douglas 
Fairbanks,  Charlie  Chaplin,  Norma 
Talmadge,  Mary  Pickford  and  one  or 
two  others — draw  incomes  from  their 
pictures  ranging  into  the  millions. 

Of  the  stars  employed  on  a  purely 
salary  basis,  Mabel  Normand  is  the 
highest  paid.  She  receives  $70,000 
for  each  picture  in  which  she  acts. 
Of  the  stars  working  on  a  weekly 
contract  basis,  Thomas  Meighan, 
Dorothy  Dalton  and  Alice  Brady  are 
the  highest  paid,  receiving  $5,000  a 
week.  Through  long  term  contracts, 
now  about  ending,  Miss  Dalton  and 
Miss  Brady  receive  more  each  week 
than  Pola  Negri  and  Gloria  Swanson. 

Probably  the  most  remarkable 
weekly  contract  is  still  held  by  Elsie 
Ferguson,  calling  for  $10,000  per 
week — when  she  works.  This  also 
is  an  old  contract,  nearly  terminated. 

Of  the  stars  receiving  a  salary  and 
a  percentage  of  the  returns  from  their 
pictures,  Richard  Barthelmess  prob- 
ably leads. 


National  she  was  receiving  about  $50,000  as  her  salary  for 
each  picture. 

Of  the  stars  who  are  employed  on  a  purely  salary  basis  at 
the  present  time,  Mabel  Normand  is  probably  the  highest  paid. 
She  receives  $70,000  from  Mack  Sennett  for  each  picture  in 
which  she  appears. 

Of  the  stars  working  under  contract  at  weekly  salaries, 
Thomas  Meighan,  Dorothy  Dalton  and  Alice  Brady  are  the 
highest  paid,  each  receiving  $5,000  a  week. 

The  fact  that  Miss  Dalton  and  Miss  Brady  receive  far  more 
than  such  favorites  as  Pola  Negri  and  Gloria  Swanson  appears 
unaccountable  until  you  learn  that 
they  are  nearing  the  end  of  contracts 
which  were  made  several  years  ago. 
The  contracts  called  for  an  increase  of 
salary  every  year. 

Finding  Miss  Brady's  services  too 
expensive  for  the  screen,  under  this 
contract,  the  Famous  Players  Com- 
pany has  placed  her  in  a  stage  play, 
"Zander  the  Great,"  on  Broadway. 

The  same  company  holds  a  long- 
term  contract  with  Elsie  Ferguson 
which  calls  for  $10,000  a  week  when 
she  works.  The  final  pictures  have  not 
been  made  under  this  contract  because 
the  star's  salary  makes  the  cost  of  pro- 
duction too  great  for  profit. 

Gloria  Swanson  at  the  present  time 
is  receiving  $3,500  a  week.  At  the 
termination  of  her  contract,  she  will  be 
receiving  $5,000. 

Pola  Negri's  weekly  salary  according 
to  publicity  stories  is  $5,000,  but  in- 
timate report  places  it  at  $2,000,  which 
is  five  hundred  less  than  Agnes  Ayres 
is  reputed  to  get. 

Jack  Holt  is  rated  at  $2,000  a  week, 
and  Leatrice  Joy  will  arrive  in  the 
$2,000  class  as  a  Paramount  star  under 
a  new  contract,  it  is  said. 

Ernest  Torrence's  work  in  "The 
Covered  Wagon"  practically  doubled 
his  salary.  His  contract,  just  made 
with  Lasky,  calls  for  $1,500. 
Richard  Barthelmess'  contract  with  the  Inspiration  pictures, 
releasing  through  First  National,  calls  for  a  salary  and  a  per- 
centage of  profits.  Since  all  of  his  pictures,  with  the  possible 
exception  of  "The  Seventh  Day,"  have  been  money-makers, 
Barthelmess  is  now  in  the  heavy  financial  class. 

Lillian  Gish's  contract  with  Inspiration  is  similar  to  that  of 
Barthelmess.  She  receives  a  salary  and  a  share  in  the  profits. 
"The  White  Sister,"  which  she  recently  completed  in  Italy,  is 
her  first  production  under  this  arrangement. 

When  William  Farnum  ended  his  contract  with  Fox  he  was 
receiving  $10,000  every  week  he  worked.  Thomas  Mix  is  now 
the  highest-salaried  star  on  the  Fox  lot,  with  William  Russell 
ranking  close,  at  $2,000  per  working  week. 

Metro  recently  made  three  star  contracts  of  consequence. 
Jackie  Coogan  was  paid  $500,000  in  advance  on  his  services 
for  three  years. 

Viola  Dana,  one  of  the  most  consistent  of  all  program  stars, 
was  signed  on  a  contract  that  calls  for  $1,500,  or  thereabouts, 
every  week  in  the  year. 

And  Ramon  Novarro  was  presented  with  a  contract  which 
will  yield  him  three  quarters  of  a  million  within  the  next  three 
years — and  before  he  is  twenty-six!  Novarro  has  been  re- 
ceiving less  than  five  hundred  in  [  continued  on  page  123] 


Mrs.  ReicTs 

"Human 
Wreckage" 

A  great  success 


Mrs.  Reid 
who  takes 
the  role  of 
wife 


James 
Kirkwood 

as  the 
husband 


The  New  York  first 
night  audience  at  the 
Lyric  Theater  gave  Mrs. 
Wallace  Reid  ana'  her 
picture,1' Human  Wreck- 
age," an  enthusiastic 
greeting.  The  picture, 
which  is  revieived  else- 
where in  this  issue,  is  a 
powerful  sermon  for  in- 
creased governmental 
activity  in  the  suppres- 
sion of  the  narcotic  evil 


Above — How  the  world 
looks  to  a  drug  crazed 
addict.  Isn't  it  remi- 
niscent of  "The  Cabinet 
of  Dr.  Caligari"? 


At  left — A  remarkable 
death  scene  wonderfully 
played  by  Bessie  Love 
and  Victory  Bateman. 
This  picture  is  worth 
seeing 


J,5 


Authors — Burn  Up  Your  Alibis! 


WE  who  are  interested  in  the  pro- 
duction of  pictures  which  are 
marketable,  besides  havingother 
virtues,  have  come  to  know  that  no  man 
can  pour  another  man's  drink,  put  on 
another  man's  hat  or  prepare  another 
man's  story. 

I  am  still  a  beginner  in  the  motion  pic- 
ture game,  having  written  only  two  long 
continuities.  One  got  by  and  the  other 
got  over.  I  am  convinced  that  authors 
who  wish  to  express  themselves  on  the 
screen  must  submit  continuities,  instead 
of  synopses.  It  is  impossible  for  any 
author  to  put  into  any  condensed  out- 
line or  even  into  a  scenario,  which  leaps 
from  crag  to  crag,  all  of  the  kinks  and 
angles  and  details  of  his  created  story  as 
he  has  dreamed  it  to  himself  and  as  he 
would  like  to  see  it  revealed  to  the 
public. 

The  Saturday  Evening  Post  author 
goes  to  see  his  picturized  masterpiece 
and  is  carried  out  during  the  third  reel, 
moaning  pitifully  to  himself,  "They 
have    murdered    my   beautiful   story." 

He  blames  the  boys  at  the  studio  and  the  director.  But 
they  were  doing  the  best  they  could  with  a  lot  of  rambling 
material  which  never  had  been  put  into  the  exact  specifications 
of  moving  picture  presentation. 

Write  your  own  titles  and  outline  your  own  scenes  and  find 
out  how  much  narrative  you  can  pack  into  six  or  seven  reels, 
and  be  present  when  the  cuts  are  made.  Sit  next  to  the  director. 
Blue  pencil  all  of  your  own  stuff  that  is  bad  and  unblushingly 
adopt  all  of  the  director's  interpolations  which  seem  to  spruce 
up  the  play,  and  the  first  thing  vou  know  you  may  get  your  pic- 


By  George  Ade 


1  %** 


ture  into  one  of  those  12  cylinder  maga- 
zines between  Tom  Mix  and  Pola  Negri! 
To  encourage  other  authors  who  seem 
to  believe  that  the  art  of  writing  for  the 
screen  is  a  sort  of  Masonic  mystery,  I 
wish  to  report  that  I  am  working  in 
harmony  with  scenario  men  and  direc- 
tors, although  I  cannot  claim  familiarity 
with  the  technique  or  even  the  terms  of 
motion  picture  photography.  In  map- 
ping a  scene,  I  may  suggest  in  the  script 
that  it  be  made  a  long  shot,  or  medium 
shot,  or  a  close-up,  but  I  do  so  knowing 
that  when  the  scene  is  shot  the  director 
and  the  camera  man  will  go  out  for  a 
result,  regardless  of  what  I  have  written. 
What  I  tried  to  do  in  the  scripts  of 
"Our  Leading  Citizen"  and  "Back 
Home  and  Broke,"  which  I  wrote  for 
Tom  Meighan,  was  to  start  at  the  very 
beginning  and  put  in  all  of  the  text 
and  all  of  the  scenes  and  leave  the  direc- 
tor in  no  doubt  as  to  what  I  was  trying 
to  get  over  in  every  instance.  Make 
clear  to  the  director  the  purpose  of  the 
scene  and  don't  load  him  with  super- 
fluous suggestions  or  specify  details  which  are  non-essential, 
because  no  one  can  foretell  under  what  conditions  the 
shot  will  be  made.  This  is  especially  true  of  out-door  stuff. 
It  must  be  a  help  to  the  director  to  have  in  front  of  him  the 
subtitles  which  carry  or  explain  the  photography. 

A  continuity  prepared  with  care  is  like  a  road  map  to  the 
traveller.  It  leaves  the  scenario  man,  the  casting  director,  the 
players  and  the  camera  men  in  no  doubt  as  to  the  results  which 
the  author  is  trying  to  get.  It  is  time  for  authors  to  burn  up 
their  alibis  and  assume  responsibility  for  their  own  pictures. 


An  Ed  Wynn 

"Nur 

Recipe 


Everyone  who  has  seen  Ed 
Wynn,  the  stage  comedian 
and  son-in-law  of  Frank 
Keenan,  knows  his  "nut" 
inventions.  Ed  is  seen 
here  with  Tommy  Meighan, 
Lila  Lee  and  Ralph  Ince 
expounding  his  new  patent 
scenario  recipe.  "It's  very 
simple,"  says  Wynn,  "just 
a  little  train  wreck,  an  auto- 
mobile chase,  a  forest  fire, 
a.  French  revolution,  a 
cabaret  party,  a  snowstorm 
and  a  baby.  If  you  mix 
these  thoroughly  you  can' I 
fail — no  one  ever  has" 


46 


Gloria  Swanson  may  be  noted  at  the  left  of  the  Mack  Sennett  life  boat  squad  of  191 7 . 

That  was  long  before  Gloria  dreamed  of  being  a  decorative  dramatic  star.     Alice 

Lake  is  in  the  ornate  background 


When  they 

were 
Bathing  Girls 


Because  Phyllis  Haver  was 
a  good  little  bathing  girl 
who  always  kept  her  bath- 
ing suit  dry,  Mack  Sennett 
made  her  a  dramatic   star 


The  symmetrical 
Mary  Th  urman  was 
once  the  best  known 
of  all  the  near-sea- 
going Sennetters.  ft 
wasn't  long  before 
she  stepped  from  one 
piece  bathing  suits  (o 
emotionalism 


&  S* 


Bebe  Daniels  went 
diving  in  Harold 
Lloyd  comedies  and 
came  up  a  dramatic 
siren.  Her  latest 
picture  is  "  The 
Exciters  "  —  but 
Bebe  was  always  an 
exciter 


The  Photoplay  Medal  of  Honor 


For  the  Best  Picture 
Released  During  1922 

This  is  your  last  chance  to  express 
your  opinion  as  to  what  picture 
should  receive  the  PHOTOPLAY 
Medal  of  Honor  for  the  year  1922 

The  votes  must  be  in  by 
October  first.  Vote  Js[OW 


The  Photoplay  Medal  of  Honor 


VOTING  for  the  third  Photoplay  MAG- 
AZINE Medal  of  Honor  for  the  best 
picture  of  1922  ends  October  1st.  If 
you  wish  to  express  your  opinion  and,  at  the 
same  time,  honor  the  best  in  motion  pictures 
and  encourage  producers  to  do  even  better, 
send  your  letter  or  fill  out  the  attached  coupon 
NOW.  This  announcement  will  not  appear  in 
Photoplay  Magazine  again. 

The  Photoplay  Magazine  Medal  of  Honor 
has  become  recognized  as  the  supreme  mark  of 
distinction  in  the  world  of  the  motion  picture. 
The  first  Medal  of  Honor,  awarded  in  1920, 
went  to  William  Randolph  Hearst.  Photo- 
play readers  voted  his  Cosmopolitan  Produc- 
tion, "Humoresque,"  the  most  worthy  of  that 
year.  The  second  Medal  of  Honor,  for  1921, 
was  awarded  to  Inspiration  Pictures,  Inc.,  for 
its  production  of  "Tol'able  David,"  with 
Richard  Barthelmess  as  star. 

This  Medal  of  Honor  is  the  first  annual 
recognition  of  distinction  in  the  making  of 
motion  pictures.  Photoplay  Magazine 
wishes  to  emphasize  this  point,  and  to  reiterate 
that  the  award  should  be  made  to  the  photo- 
play most  closely  approaching  a  perfect  com- 
bination of  theme,  story,  direction,  acting, 
continuity,  setting,  lighting  and  photography. 

The  bestowal  of  this  great  honor  is  entirely 


in  the  hands  of  the  readers  of  Photoplay 
Magazine,  who,  by  their  votes  or  letters,  are 
the  sole  judges. 

As  is  the  custom,  the  announcement  of  the 
opening  of  the  voting  was  delayed  six  months 
after  the  close  of  the  year  so  that  pictures 
released  at  the  end  of  the  year  may  have  been 
seen  in  all  parts  of  the  country. 

To  refresh  the  memories  of  readers,  there  is 
printed  below  a  list  of  fifty  pictures,  all  of  1922, 
which  has  been  carefully  chosen  and  con- 
sidered. You  probably  will  find  in  that  list  the 
picture  you  consider  the  best.  If  it  is  not  there, 
however,  name  it  in  your  letter  or  on  the 
coupon,  but  be  sure  it  was  released  in  1922. 

Photoplay  is  proud  of  its  awards  for  the  two 
preceding  years.  It  takes  special  pride  in  the 
fact  that  its  readers  selected  two  such  pictures 
as  "Humoresque"  and  "Tol'able  David,"  the 
former  being  a  remarkably  touching  story  of 
mother-love,  and  the  latter  a  magnificent 
presentation  of  the  spiritual  development  of  an 
American  boy  into  manhood.  The  selection  of 
these  pictures  by  Photoplay  readers  proves 
that  they  recognize  true  merit  in  pictures  and 
that  they  are  earnest  in  their  desire  for  the 
betterment  of  photoplays. 

The  Photoplay  Magazine  Medal  of  Honor 
is  worth  winning.    It  is  of  solid  gold,  two  and  a 


half  inches  in  diameter,  and  weighs  123}^ 
pennyweights.  The  1922  medal  is  being  made, 
as  were  the  other  two,  by  Tiffany  &  Company, 
of  New  York. 

To  record  your  vote,  fill  out  the  appended 
coupon  and  mail  it,  naming  the  picture  which, 
after  careful  thought,  you  consider  the  best  of 
1922.  If  you  choose  to  write,  stating  your 
reasons  for  your  choice,  Photoplay  will  be 
glad  to  receive  your  letter.  All  votes  and 
letters  should  be  addressed  to  the  Photoplay 
Medal  of  Honor  Ballot,  and  must  be  received 
at  Photoplay's  editorial  offices,  No.  221  West 
Fifty-seventh  Street,  New  York,  not  later  than 
October  1st,  1923. 

This  is  your  opportunity  to  aid  in  the  better- 
ment of  motion  pictures.  If  you  want  better 
ones,  if  you  wish  to  honor  the  makers  of  the 
best  and,  at  the  same  time,  inspire  producers  to 
improve  the  quality,  to  put  vision  and  brains 
behind  their  output,  send  in  your  vote.  This 
is  more  than  an  opportunity — it  is  a  duty. 

Fill  out  the  coupon  or  write  your  letter  and 
mail  it  NOW  so  that  it  will  be  sure  to  reach 
Photoplay's  office  in  time. 

Don't  delay! 

In  the  event  of  a  tie  vote,  an  identical  medal 
will  be  awarded  to  each  of  the  tying  con- 
testants. 


SEND  YOUR  VOTE  AND  ENCOURAGE  BETTER  PICTURES 


Suggested  List  of  Best  Photoplays  of  1922: 


Beautiful  and  Damned 

Blood  and  Sand 

Bond  Boy 

( 'larence 

Cradle  Butter 

Dangerous  Age 

Dictator 

Doctor  Jack 

Doubling  for  Romeo 

East  U  West 

Eternal  Flame 

Flirt 

Foolish  Wives 

Forever 

Hero 

His  Back  Against  the  Wall 

Hottentot 


Human  Heart* 
Hungry  Hearts 
Hurricane's  Gal 
Lorna  Doone 
Loves  of  Pharaoh 
Manslaughter 
Man  Who  Played  God 
Miss  Lulu  Beit 
Monte  Crista 
Narwolc  of  the  North 
Nice  People 
Old  Homestead 
Oliver  Tu-ist 
One  Exciting  Night 
One  Gloriovs  Day 
Our  Leading  Citizen 
Peg  0'  My  Heart 


Pen  rod 

Poor  Men's  Wives 
Prisoner  of  Zenda 
Quincy  Adams  Sawyer 
Robin  Hood 
Sin  Flood 
Slim  Shoulders 
Smilin    Through 
Sonny 
Storm 

Tailor  Made  Man 
Tess  of  the  Storm  Country 
Timothy  s  Quest 
To  Hare  and  To  Hold 
Trifling  Women 
When  Knighthood  Was  in 
Flwiier 


Photoplay  Medal  of  Honor  Ballot 

EDITOR  PHOTOPLAY  MAGAZINE 

221  W.  57th  Street,  New  York  City 

In  my  opinion  the  picture  named  below 
is  the  best  motion  picture  production  re- 
leased in  1922. 


NAME  OF  PICTURE 


Name- 


Addrc-M  - 


The 

Costello 


It  is  Jilting  that  Dolores  Cos- 
tello, daughter  of  Maurice 
Costello,  the  first  screen  idol  of 
fdmdom,  should  seek  her  fame 
and  fortune  upon  the  silver 
sheet.  Miss  Costello  has  al- 
ready appeared  in  minor  roles 
of  several  Paramount  produc- 
tions and  she  seems  destined  to 
find  ultimate  success.  The 
blood  of  old  Spain  and  Ireland 
flows  in  her  reins,  for  her 
grandmother  was  Irish  and  her 
grandfather  came  from  Castile. 
The  accompanying  pictures 
show  Maurice  Costello,  his  wife 
and  his  daughter,  Dolores 


>,!) 


Carl  Lacmmle  leading  the  fight  of  the  Independents  against 
the  Motion  Picture  Patents  Company  decorated  his  advertise- 
ments  in  the  trade  journals  with  cartoons  aimed  to  discomfort 
the  enemy  and  stir  up  rebellion  among  the  licensed  exhibitors. 
This  one  was  intended  to  rub  in  on  the  theater  men  the  fact 
ih'it  they  were  required  to  pay  two  dollars  a  week  for  each 
licensed  projection  machine 


«L-  I- saw 

/VA7.  .    «< 


L 


\s    THK    "IM»KI*KMU  N  I "    SITUATION      ixiohs   TO  THK    i:\lllltlTnll 


The  Film  Index,  a  trade  journal  devoted  to  the  interests  of  the 
Patents  Company  retaliated  against  Laemmle's  campaign 
with  cartoon  efforts  to  show  the  unsettled  and  unreliable  state  of 
affairs  in  the  Independent  camp.  The  specimen  here  is  based 
on  a  stormy  session  in  the  conferences  of  the  Motion  Picture 
Distributing  &  Sales  Company,  the  Independent' s  organization 


TO  the  many  who  know  the  motion  picture  only  by  its  self- 
proclaimed  glories  of  the  screen  of  today,  this  chapter  of  our 
searching  narrative  will  bring  a  revelation  of  the  embattled 
past  from  which  the  art  has  been  evolved. 

Significant  facts  never  before  published  and  never  before 
assembled  in  their  relation  to  each  other  have  been  gathered 
here  for  the  first  time,  the  fruit  of  hundreds  of  interviews  and 
endless  research  among  long  hidden  records  and  correspondence 
tiles. 

It  is  only  now  that  the  inner  story  of  the  motion  picture  in- 
dustry can  be  told.  Forces,  factors  and  movement  obscured  in 
their  time  by  the  secrecies  of  back  room  strategy  and  the  moil  of 
conflict  now  come  to  light  to  be  presented  for  the  benefit  of 
those  who  care  to  know  what  manner  of  thing  the  motion  pic- 
ture is  and  why.  The  motion  picture  is  not  merely  the  shadow 
play  that  sweeps  across  the  theater  screen.  The  picture  is  but 
the  expression  of  a  whole  hidden  world  of  strife,  struggle  and 
effort,  sometimes  sordid,  often  desperate  and  always  romantic. 

James  R.  Quirk,  Editor. 

Copyright,  19i3, 

60 


The  Romantic 
History 

of  the  Motion 
Picture 


By  Terry  Ramsaye 


Chapter  XVIII 

THE  world  of  the  motion  picture  was  aroar  with  war  from 
the  early  months  of  1909.     The  battle  lines  were  forming 
and  reforming  in  a  conflict  without  a  parallel  in  the 
whole  history  of  American  industry. 
The  rising  Independents  scorned  and  feared  the  patent  rights 
of  the  Motion  Picture  Patents  Company  and  set  forth  to  wrest 
from  the  licensed  makers  and  sellers  of  film  a  share  in  the  golden 
flood  of  profits  from  a  picture-hungry  public. 

The  Patents  Company's  armies  of  lawyers  shelled  the  Inde- 
pendents with  injunction  actions,  while  the  Independents 
fought  from  the  am- 


bushes of  secrecy,  flit- 
ting about  by  night 
and  hurling  stink 
bombs  of  ridicule  and 
invective  in  the  trade 
press. 

Carl  Laemmle  stood 
forth  conspicuously 
among  the  Independ- 
ents with  his  exten- 
sive exchange  system 
and  an  aggressive 
merchandising  war 
policy.  He  waved 
aloft  a  flaming  torch 
and  shouted  from  the 
housetops.  In  the 
trade  journals  he  car- 
ried the  fight  into  the 
face  of  the  enemy  with 
a  line  of  cartoon  illus- 
trated advertise- 
ments, couched  in 
simple  but  wily  words 
and  as  graphic  as 
Brisbane  editorials. 

Robert  Cochrane, 
the  Chicago  advertis- 
ing man  identified 
with  Laemmle's  entry 
into  the  motion  pic- 
ture field  as  related  in 
an  earlier  chapter, 
was  the  author  of 
those  stirring,  bellig- 
erent advertisements. 
"The  Film  Trust" 
was  his  daily  target. 
Laemmle's  advertise- 
ments were  calculated 
to  make  the  theater 
men   unhappy  with 

by  Terry  Kamsaye 


Here  told  for  the 
first  time 

How — Florence  Lawrence  be- 
came the  first  star  in  the  war 
between  the  Independents 
and  the  Trust  in  1910. 
How — King  Baggott,  famous 
star  of  Imp,  first  scorned  the 
screen,  and  then  returned  to 
start  a  famous  career. 
How — The  raiders  of  the 
Trust  pursued  and  harried 
the  exchanges  of  their  Inde- 
pendent competitors. 
How — Fighting  Jeremiah 
Kennedy  launched  General 
Film  to  take  the  control  of 
the  nation's  whole  film  busi- 
ness for  thePatents  Company 
How — A  circus  showman  got 
the  feature  picture  idea  and 
made  Buffalo  Bill  the  star  of 
the  first  picture  to  pave  the 
way  for  the  dramas  of  today. 
How — A  phonograph  expert's 
invention  of  a  new  camera 
threatened  to  upset  the  whole 
world  of  the  screen — and  how 
the  Patents  Co.  finally  got  it. 


A  Historic  Industrial  Fight 

between  the  "Trust" 

and  the  Independents 


the  dominance  of  ihe  Patents  Company  and  the  license  sys- 
tem. Week  by  week  Laemmle's  bombardments  continued. 
This  extract  from  his  advertisements  of  May  22,  1909,  exem- 
plifies his  method  of  sowing  discontent  and  distrust: 

$240,000  of  every  million  collected  by  the  Film  Trust 
from  Exhibitors  goes  to  the  licensed  manufacturers! 

Let  that  fact  rattle  around  in  your  topknot,  Mr. 
Exhibitor! 

The  editorial  columns  of  the  trade  journals  took  their  cue 
and  pitch  from  these  same  advertisements.  The  Film  Index 
of  Chicago,  which  was  aligned  with  the  Motion  Picture 
Patents  Company,  lampooned  the  Independents,  cartooned 
them  and  in  mocking  words  commiserated  with  their  re- 
verses. Meanwhile  the  Moving  Picture  News,  radically 
attached  to  the  Independents,  hurled  innuendo  and  accusa- 
tions, personal  and  impersonal, at  the  concerns  and  personali- 
ties of  the  licensed  organizations.  "Dupers,"  "boneheads" 
and  such  casual  terms  were  among  the  minor  decorations  of 
the  weekly  issues. 

The  utterances  of  the  time  were  reminiscent  of  the  earlier 
days  of  American  journalism  when  Watterson  and  Anthony 
and  Rosewater  wrote  exactly  what  they  thought  of  their 
contemporaries. 

The  operations  of  the  war,  however,  wen?  not  all  so  super- 
ficially apparent.    There  were  deep  laid  plans,  andplots,  and 
maneuvers,  never  discussed  in 
the  press  of  the  industry. 

Laemmle  observed  with  a 
jealous  eye  the  evident  supe- 
riority of  Biograph's  product, 
the  best  of  the  licensed  film, 
and  the  product  was  after  all 
the  strongest  club  in  the  film 
war.  The  theater  men  could 
be  depended  on  to  follow 
where  the  best  pictures  could 
be  found. 

One  of  the  most  conspicu- 
ous screen  figures  of  the  day 
was  Florence  Lawrence, 
known  to  the  patrons  of  the 
theaters  as  "The  Biograph 
Girl."  She  was  in  fact  a  star, 
but  the  motion  picture  did 
not  know  it.  There  was  no 
defined  consciousness  of  stars 
and  star  value  in  the  backward  art  of  the  screen  at  that  time. 

Now,  it  was  not  long  after  the  formation  of  Laemmle's  Inde- 
pendent Motion  Picture  Company,  the  famous  "Imp,"  that 
Miss  Lawrence  vanished  from  the  Biograph  studios. 

A  story  reached  the  newspapers  from  out  in  St.  Louis  that 
she  had  been  mysteriously  slain. 

Then  on  April  2,  1910,  a  due  and  proper  sequel  to  any  such 
story  dated  April  first,  Miss  Lawrence  appeared  under  Laemmle 
auspices,  whole  and  sound  and  in  person  on  the  stage  to  let  the 
world  know  that  "The  Biograph  Girl"  was  now  "an  Imp." 

Laemmle  had  hit  at  the  Biograph  and  the  "Trust"  to  make 
a  spectacular  play  before  the  customers  of  his  exchanges.  And, 
along  with  Miss  Lawrence,  he  acquired  the  services  of  Harry 
Salter,  her  husband  and  director. 

This  move  was  the  beginning  of  the  star  system. 

From  this  time  onward  stars  became  increasingly  important 
in  the  affairs  of  the  screen — as  the  pawns  in  the  hands  of  the 
producer-distributors  engaged  in  the  game  of  the  film  business. 

Nearly  ten  years  had  to  elapse  before  the  pawns  themselves 
learned  to  play  the  game  alone — with  the  formation  of  United 
Artists  in  the  Chaplin-Pickford-Fairbanks-Griffith  combina- 
tion, which  is  another  story  to  be  told  in  a  later  chapter. 

This  St.  Louis  exploit,  also  engineered  as  a  piece  of  Cochrane 
strategy,  may  also  be  pointed  out  as  the  first  "publicity  stunt" 
in  behalf  of  a  motion  picture  star.  This  was  the  beginning  of  a 
system  of  exploitation  now  developed  to  extravagant  propor- 


Out  of  the  famous  battle  between  the 
Licensed  and  Independent  forces 
came  the  screen's  first  star,  Florence 
Lawrence,  until  that  time  known  as 
"the  Biograph  girl."  At  the  left  is 
another  picture  of  Miss  Lawrence, 
taken  in  1910  in  her  dressing  room  at 
the  Imp  studios.  This  was  the  first 
motion  picture  dressing  room 


tions  with  armies  of  "exploited*,"  and  a  condition  where 
today's  first  page  murder  may  tomorrow  develop  to  be  merely 
the  announcement  of  a  new  picture. 

Close  upon  this  time  King  Baggott  was  invited  to  the  Imp 
studio  to  become  the  leading  man  playing  opposite  Miss  Law- 
rence. Baggott  was  brave  with  the  laurels  of  success  in  St. 
Louis  stock  companies  and  he  had  an  engagement  with  Mar- 
guerite Clark  in  "The  Wishing  Ring."  He  smiled  and  waived 
the  absurd  films  aside.  Twelve  weeks  later  "The  Wishing 
Ring,"  out  on  the  road,  closed  and  Baggott  came  back  to  New 
York  and  went  to  Imp  and  a  screen  career  which  far  over- 
shadowed his  stage  fame. 

The  aggressiveness  of  Laemmle  served  to  keep  him  much  in 
the  mind  of  the  Motion  Picture  Patents  Company,  which  kept 
up  an  unabated  legal  pursuit,  vigorously  seeking  to  shut  down 
his  Imp  studio  and  all  the  rest  of  the  Independent  plants. 

But  J.  J.  Kennedy  of  Biograph,  the  most  strenuous  executive 
of  the  Patents  Company,  had  other  war  plans  in  the  making. 
He  operated  with  an  intelligence  system  that  would  have  done 
credit  to  Bismarck.  By  ingenious  and  obscure  channels  he 
kept  advised  of  every  movement  among  the  Independents.  He 
had  daily,  almost  hourly,  reports  on  their  affairs.  He  was  in- 
formed by  his  espionage  machine  of  everything.  He  knew  most 
of  their  secrets.  He  was  informed  of  even  what  they  ate  and 
drank  and  who  they  drank  it  with 'and  what  they  said.  He  had 
figures  on  their  business,  what  they  spent  for  film  and  where 

51 


After  rejecting  motion  picture  offers,  chance 

brought  Kino  Baggott  to  the  screen  (is  leading 

mini  for  Florence  Lawrence 


Paul   Panzer  was   a   member  of  the  first 
American  Pathe  Co.,  which  utilized  a  make- 
shift studio  at  Bound  Brook,  N.  J.,  1910 


they  got  it.  and  to  whom  they  sold  and  rented  film  and  for 
how  much.  His  offices  at  52  Broadway  were  rapidly  expanding 
to  cover  a  floor.  There  was  the  base  and  headquarters  for  the 
big  war. 

The  Patents  Company  had  started  by  offering  licenses  to  the 
exchangemen  to  sell  licensed  film  to  licensed  theaters.  The 
exchangemen  were  making  a  great  deal  of  money  and  from  the 
Patents  Company's  point  of  view  also  a  great  deal  of  trouble. 

The  Patents  Company  set  out  to  enforce  its  rulings  on 
licenses.  Raiding  squads  seized  license  film  which  was  found 
in  the  hands  of  unlicensed  independent  exchanges.  When 
licensed  pictures  appeared  at  unlicensed  theaters  the  prints 
were  seized  and  investigation  started  to  find  on  whose  respon- 
sibility the  picture  had  escaped.  Kennedy's  secret  service 
seemed  to  reach  everywhere. 

Raids  came  thick  and  fast  in  all  parts  of  the  country. 

Durant  Church,  a  collegian  fresh  from  the  football  gridiron, 
was  employed  as  the  head  of  a  raid-and-replevin  squad  to 
enforce  the  Patents  Company's  discipline  on  the  film  trade. 
His  father,  by  the  bye,  was  Melville  Church  who  had  been  con- 
nected with  the  United  States  patent  office  in  the  early  period 
of  motion  picture  affairs,  and  who  presently,  after  entering 
private  practice,  took  over  the 
legal  patent  affairs  of  the  Mo- 
tion Picture  Patents  Company. 

Kennedy  occasionally  en- 
joyed a  raid  in  person.  It 
helped  the  morale  and  gave 
him  action. 

One  of  these  raids  estab- 
lished a  connection,  with  a  long 
series  of  interesting  con- 
sequences. A  Biograph  sub- 
ject appeared  at  the  New  York 
Roof  Theater  in  Broadway,  an 
unlicensed  house.  The  raiders 
seized  the  film  and  inspecting 
the  secret  code  marking  on  the 
print  found  it  was  the  print 
issued  to  Percy  Waters'  ex- 
change, the  licensed  Kineto- 
graph  Company. 

Kennedy  pounced  on  Waters 
for  an  explanation.     Why  and 


how  did  he  dare  to  rent  a  film  to  an  unlicensed  house?  His 
exchange  license  would  be  cancelled  forthwith,  unless  adequate 
reasons  were  offered. 

"  Impossible,"  Waters  responded.  "  My  print  of  that  subject 
is  working  out  of  town." 

"It  is  not.  Here  it  is,  right  here — how  did  it  get  to  the  New 
York  roof?" 

"It  isn't  my  print,  and  I'll  show  you.  I'll  have  my  print  in 
here  tomorrow  morning!" 

"You  can't;  but  you'd  better,"  Kennedy  retorted. 

Waters  consulted  his  books  and  put  in  a  long  distance  phone 
call  for  Pottsville,  Pa.,  calling  for  Jack  Braden,  the  operator  of 
the  local  theater. 

"You've  got  my  print  of  Biograph  subject  number  4144 — 
bring  it  to  New  York  tonight,  sure.    Hurry!" 

Kennedy  was  in  a  belligerent  humor.  This  was  an  excellent 
time  to  make  an  example  of  an  exchange  right  in  New  York, 
where  it  would  be  impressive  to  the  trade. 

When  Waters'  print  of  the  subject  in  contention  was  laid 
before  Kennedy  the  next  morning,  Waters  was  vindicated,  but 
the  plot  thickened. 


"That's  Bill  Steiner's  print 


How  They  Started 


Next  month's  installment  of  The  Romantic 
History  of  the  Motion  Picture  will  include 
never-before-told  stories  of  the  beginnings  on 
the  screen  of  many  of  the  well  known  stars 
of  today  and  some  of  those  who,  great  in  their 
day,  are  now  almost  forgotten.  In  the  next 
chapter  you  will  hear  of  the  beginnings  of  the 
rush  to  California,  where  Griffith  found  Mae 
Marsh;  how  Imp  raided  Biograph  and  captured 
"Little  Mary,"  later  known  as  Mary  Pickford; 
how  Tom  Mix  bucked  his  way  into .  a  Selig 
cast  in  Oklahoma — and  many  other  stories  of 
the  making  of  famous  names. 


marked  for  the  Imperial  ex- 
change," the  code  expert 
announced,  examining  the 
secret  marks.  "  Mix-up  in  the 
shipping.  Steiner  got  the  print 
marked  for  Waters." 

Peacemaking  words  were  ex- 
changed with  Waters,  who  had 
made  his  due  impression  on 
Kennedy.  Then  the  guns  were 
turned  on  Steiner. 

"  Not  my  print— mine's  gone 
to  a  customer  in  Cuba,"  Steiner 
insisted.  The  contention  raged 
back  and  forth,  but  the  license 
of  the  Imperial  Film  Exchange 
was  cancelled  on  the  charge  of 
supplying  an  unlicensed 
theater,  meaning  the  end  of  its 
supply  of  Patents  Company  li- 
censed film. 

The  days  were  full  of  strife. 

[  CONTINUED  ON  PAGE  IOO  1 


52 


BLANCHE  SWEET,  as  herself,  and  as  Dolores 
Mendoza  in  "In  the  Palace  of  the  King" — F. 
Marion  Crawford's  colorful  romance  of  sixteenth 
century  Spain.  The  entire  action  of  this  story 
covers  only  one  night — but  there's  time  enough,  in 
the  twelve  screen  hours,  for  Blanche  to  give  an 
interpretation  as  varied  and  charming  as  the 
vividly  embroidered  designs  upon  a  Spanish  shawl. 
Under  the  direction  of  Emmett  J.  Flynn  she  stages 
a  film  come-back  that  is  full  of  dramatic  depth,  and 
romance  and  shimmering  loveliness. 


53 


The  Studio 
Secret 


By  Frederic  Arnold  Kummer 


Illustrated  b y 

James  Montgomery  Flagg 


Read  that  which  has  gone  before 
Here's  the  conclusion: 

JOY  MORAN'S  entrance  into  the  motion  picture  field  was  a 
strange  one.  The  mysterious  Mr.  Watrous  had  made  it 
possible,  after  her  father's  illness.  She  needed  money  and, 
though  the  motion  picture  work  meant  that  she  must  spy  upon 
Jean  Romain,  the  popular  star,  it  seemed  the  only  way.  Meet- 
ing Jean,  on  the  train  that  bore  her  west,  she  was  strangely 
drawn  to  him — and  felt  that  he  returned  her  liking,  even 
though  he  was  engaged  to  the  heiress,  Margot  Gresham.  It  was 
Miss  Gresham's  father,  who  wanted  to  break  the  engagement, 
who  was  back  of  Joy's  picture  contract.  Joy  had  left  behind 
her  one  ardent,  but  selfish,  suitor,  Arthur  Lloyd.  But  once  on 
the  coast  she  did  not  miss  him,  for  she  met  a  host  of  new 
friends — directors,  writers,  actors.  Mr.  and  Mrs.  Kramer  were 
among  the  people  who  made  her  welcome — in  Mrs.  Kramer  Joy 
sensed  a  vague  menace.  The  woman  seemed  to  know  too 
much  about  Jean  Romain's  past,  seemed  well-informed  upon 
the  mystery  that  had  to  do  with  the  death  of  Jean's  wife. 
When  Jean  displayed  openly  his  interest  in  Joy  the  girl  could 
tell,  intuitively,  that  Mrs.  Kramer  was  jealous.  This  jealousy 
showed  in  various  ways.  It  was  used  to  stir  up  Margot  Gresh- 
am's feelings,  and  to  infuriate  Arthur  Lloyd  when  he  accepted 
a  contract  that  brought  him  to  Hollywood.  With  Arthur  as 
her  ally  Mrs.  Kramer  planned  to  use  him  as  a  tool — to  get  rid  of 
Margot  and  Joy  at  one  time,  so  that  Jean  woukl  be  left  to  her. 
She  did  not  realize  how  much,  beneath  the  surface,  Joy  and 
Jean  were  beginning  to  care  for  each  other.  How  Joy's  promise 
to  spy  upon  the  man  was  weighing  down  upon  her  heart.  All  of 
her  feelings  and  emotions  were  apparent  when  she  did  a  dance 
in  her  first  picture — a  dance  in  which  she,  as  a  Greek  courtesan, 
was  supposed  to  bewitch  a  young  Greek  conqueror.  Jean 
Romain  played  the  part  of  the  Greek,  and  he  felt  deeply  the 
passion  that  lay  behind  her  acting.  That  was  why,  hours  later, 
he  knocked  at  the  door  of  her  dressing  room.  And,  when  she 
opened  it.  took  her  suddenly  and  fiercely  into  his  arms.  An- 
gered, Joy  extricated  herself  and  compelled  Jean  to  leave. 
Learning  part  of  the  truth  of  this  incident,  Mrs.  Kramer 
determined  to  bring  matters  to  a  crisis,  and  sent  Lloyd  to  Los 
Angeles,  to  obtain  a  signed  confession  from  a  Ray  Porter,  whom 
she  had  seen  secretly  entering  the  Romain  home  the  night  of 
the  mysterious  death.  By  threats,  Lloyd  accomplished  his  pur- 
pose, and  in  an  endeavor  to  break  off  her  suspected  interest  in 
Jean,  showed  Joy  the  confession.  Obtaining  possession  of  this 
through  a  ruse,  Joy  immediately  hurried  to  Jean. 

H 


XXII 


juiiiES  inoK7<ip(nErc5rTTbs<st — 


Helen  Kramer  faced  Lloyd 
with  a  cruel  smile.  "  You — 
idiot!''  she  snapped.  "She's 
given  him  the  thing,  of  course. 
Now,  what  arc  we  going  to  do?  " 


HELEN  KRAMER, 
with  her  car  returned 
to  her,  and  no  word 
from  Arthur  Lloyd 
save  his  brief  message  that  he 
would  see  her  later  on,  spent  a 
very  uncomfortable  evening. 

She  was  impatient  to  learn 
the  results  of  his  trip  to  Los  Angeles,  ana  wondered  why  he  had 
not  come  to  her  immediately  upon  his  return.     When,  at  ten 
o'clock,  he  still  had  not  put  in  an  appearance,  she  called  up  the 
hotel,  only  to  be  told  that  he  was  out. 

She  repeated  her  call,  however,  at  intervals  of  fifteen  minutes, 
and  finally  succeeded  in  getting  him  on  the  wire  just  after  he 
had  left  Joy. 

"Why  haven't  you  been  to  see  me?"  she  asked,  her  voice 
vibrant  with  anger. 

"I — well — I  went  for  a  drive." 

"Really.  That  doesn't  interest  me  in  the  least.  What  I 
want  to  know  is,  did  you  find  Mr.  Porter?" 

"Yes." 

"What  was  the  result?" 

"I — I  got  what  I  went  for." 

"You  did."  Mrs.  Kramer's  tone  became  slightly  more  mel- 
low.   "Then  why  didn't  you  bring  it  to  me  at  once?" 

Arthur  strove  desperately  to  think  of  some  reasonable  ex- 
cuse, but  none  came  to  him.  He  had  been  busy,  he  said,  he  had 
meant  to  come,  but  other  things  had  intervened.    He  thought  it 


t*. 


The  ending  of  one 
of  the  greatest 
Studio  Romances 
ever  written 


The  telephone  call  yielded  immediate  and  positive  results.  Joy  was 
not  in  her  room.  The  clerk,  in  response  to  Arthur's  questions,  reported 
that  she  had  gone  out  some  time  before — had  driven  off  in  a  taxicab 


would  be  time  enough,  in  the  morning.  Mrs.  Kramer,  how- 
ever, thought  otherwise.  She  detected  a  note  of  evasion  in 
his  replies. 

"Come  over  now,"  she  said.     "I'm  all  alone." 

Arthur  came  to  the  conclusion  that,  since  he  would  have  to 
face  the  music  ultimately,  he  might  as  well  do  so  now. 

"All  right,"  he  replied.  "I'll  be  with  you  in  fifteen  min- 
utes." He  had  just  reached  the  lobby  when  Joy  drove  off,  but 
as  it  happened  he  did  not  see  her. 

"Well,"  Mrs.  Kramer  said,  throwing  herself  into  a  chair  on 
the  porch,  "  I  can't  understand  your  not  coming  to  me  at  once." 

"I— I  couldn't." 

"Were  you  with  Joy  Moran?" 

"Yes.  Why  not?"  There  was  a  suggestion  of  irritation  in 
Arthur's  voice;  he  began  to  resent  this  woman's  attitude  of 
command. 

"Oh — no  reason  at  all.  As  a  matter  of  fact  I  have  every 
hope  that  you  two  will  hit  it  off.  You  know  that.  But  I 
should  have  thought,  on  this  particular  evening,  that  you  would 
have  considered  this  matter  of  ours  more  important." 

"It  was — in  a  way.     Important  to  Joy,  too.     I  wanted  to 


have  her  see  the  sort  of  man  Romain 
is — and  I  wanted  her  to  promise  to 
marry  me,  so  I — well — I  gave  her  the 
confession  to  read." 

"Then — you  got  a  confession — 
really?"  Helen  Kramer's  eyes  flashed 
joyfully. 

"  Yes.  Porter  had  been  drinking — 
was  all  in.  I  accused  him — threat- 
ened that  if  he  didn't  come  clean  I'd 
have  him  locked  up  before  night.  He 
wrote  out  the  complete  story  of  Mrs. 
Romain's  death  in  his  own  hand- 
writing, and  I  had  it  sworn  to  before 
a  notary." 

Mrs.  Kramer  extended  an  eager 
hand. 

"Let  me  see  it,"  she  said. 
"Well" — Arthur  wriggled  uncom- 
fortably about  in  his  chair — "to  tell 
you  the  truth,  I  haven't  got  it." 

"You  haven't  got  it!"  Mrs. 
Kramer  rose  indignantly  to  her  feet. 
"Why  not?" 

"Because  I  gave  it  to  Joy  to  read. 
I've  already  told  you  that." 

"But  why,  in  God's  name,  didn't 
you  get  it  again?  "  Her  voice  was  al- 
most a  shriek.  "  She  could  have  read 
it  in  a  few  minutes,  couldn't  she?" 

"She  was  tired,  and  went  to  her 
room.  I'm  to  get  the  thing  back  in 
the  morning." 

Mrs.  Kramer  collapsed  into  her 
chair,  and  stared  at  Arthur  with  nar- 
row, angry  eyes. 

"You  say  you  gave  this  confession 
to  her  so  that  she  could  see  what  sort 
of  a  man  Romain  is.  Was  that  the 
only  reason?"  To  her  shrewd  mind 
the  thing  seemed  incredible. 

"Why,  yes,"  Arthur  lied  easily. 
He  did  not  propose  to  tell  Mrs. 
Kramer  anything  about  the  hundred 
thousand  dollars  offered  by  Mr. 
Gresham. 

"Did  the  confession  implicate  Ro- 
main in  any  way?" 

"Yes.  From  what  Porter  wrote, 
Romain  was  responsible  for  his  wife's 
death." 

For   a  long   time   Helen   Kramer 
stared  out  into  the  darkness.     Sud- 
denly she  turned,  facing  her  com- 
panion with  a  look  of  scorn. 
"I  think  you  are  a  fool,"  she  said. 

"Look  here!"  Arthur  rose.  " I  don't  care  for  remarks  like 
that.     Why  am  I  a  fool?" 

"  Because  you  can't  see  an  inch  beyond  your  nose.     What  do 
you  think  Joy  is  going  to  do  with  that  confession?  ". 
"Why — read  it,  of  course." 

"Oh,  yes — she'll  read  it.  No  doubt  of  that.  But,  then 
what?" 

Arthur  smiled  fatuously,  thinking  of  Joy's  real  purpose  in 
coming  to  Hollywood,  of  the  money  to  be  paid  her. 
"Why — nothing,  that  I  can  see,"  he  replied. 
"Mr.  Lloyd,"  said  Helen  Kramer  slowly,  a  sting  of  con- 
tempt in  every  word,  "if  you  were  a  woman,  and  you  held  in 
your  hand  a  paper  that  might  ruin  the  man  you  loved,  what 
would  you  do  with  it?" 

This  was  a  new  thought  to  Arthur,  and  one  that  he  could  not 
at  once  assimilate. 

"But — she  doesn't  love  him,"  he  gasped.  "The  thing  is 
ridiculous — impossible." 

"It's  true!  She  loves  him  madly — desperately.  I've  known 
it  for  weeks.  She  adores  him.  She'd  do  anything  to  save  him. 
And  I'd  be  willing  to  bet  a  thousand  to  one  that  she's  with  him 
right  now!" 

"I  don't  believe  it."  Arthur  still  clung  desperately  to  the 
thoughts  that  Joy  would  be  influenced  by  Mr.  Gresham's  hun- 
dred thousand  dollars.     He  would  have  been,  in  her  place. 

55 


"Why  should  she  be  with  him?" 

"Why?  To  give  him  that  confession,  of  course.  To  save 
him." 

"Nonsense!  If  she  does  love  Romain,  which  1  refuse  to 
believe,  she'd  never  do  something  that  would  make  certain  his 
marriage  to  another  woman.  Don't  you  see  that  if  she  saves 
him.  he'll  marry  Margot  Gresham?" 

•'Certainly  1  see  it.  At  least  I  see  that  he  could  marry  her. 
But  I'm  afraid,  Mr.  Lloyd,  you  don't  know  much  about  the  love 
of  women,  or  about  Joy.  She's  like  that  she'd  sacrifice  her- 
self— give  every  drop  of  blood  in  her  body,  if  necessary,  any- 
time, for  the  sake  of  a  man  she  loved.     And  she  loves  Romain." 

"I  can't  understand  it."  Lloyd's  uneasiness  was  increasing 
momentarily.  "She  told  me  she  was  tired — wanted  to  turn 
in.     I'll  bet  she's  in  her  room,  asleep,  right  now." 

"Do  you  think  so?"  Airs.  Kramer  sprang  to  her  feet. 
"Then  go  to  the  telephone  and  call  her  up."  She  led  the  way 
into  the  house. 

The  telephone  call  yielded  immediate  and  positive  results. 
Joy  was  not  in  her  room.  The  clerk,  in  response  to  Arthur's 
eager  questions,  reported  that  she  had  gone  out  some  time 
before — had  driven  off  in  a  taxicab.  Helen  Kramer  faced  her 
companion  with  a  cruel  smile. 

"You — idiot!"  she  snapped.  "She's  given  him  the  thing, 
of  course.     Now  what  are  we  going  to  do?" 

Arthur  began  to  walk  nervously  up  and  down,  his  face  con- 
torted with  anger. 

"If  I  thought  she  was  with  Romain,  alone,  at  this  time  of 
night,"  he  muttered,  clenching  his  fist,  "I'd" — 

"She's  there.  You  can  depend  upon  that.  But  talking 
about  what  you'd  like  to  do  isn't  going  to  help  matters  any. 
Look  here.  There  are  two  results  you  and  I  want  to  bring 
about,  and  only  two.  Nothing  else  matters.  The  first  is,  to 
break  off  Romain's  engagement  to  Margot  Gresham.  You 
don't  care  particularly  about  that,  but  I  do.  I  have  my 
reasons — that's  enough.  The  second  thing  we're  after  is  to 
break  up  this  affair  between  Romain  and  Joy.  That's  im- 
portant to  you.  We've  got  a  chance  to  do  both  things,  now — 
tonight." 

"I  don't  see  how." 

"Of  course,  you  don't.  But  /  do.  I  suppose  you  haven't 
heard  that  Margot  Gresham  is  expected  back  from  Frisco  this 
evening." 

Arthur  shook  his  head,  smiling  incredulously. 

"No — I  haven't."  he  said.  "And  what's  more,  I  don't  be- 
lieve it.  If  she  were,  Romain  would  know  it,  and  be  up  at  Los 
Angeles  to  meet  her." 

"What  a  logician  you  are,"  Mrs.  Kramer  retorted,  with  a 
contemptuous  smile.  "He  does  know  it.  But  he  isn't  going 
to  meet  her,  for  a  very  excellent  reason.  Her  father's  coming 
down  with  her." 

"How  do  you  know  that?" 

"I  make  it  my  business,  Mr.  Lloyd,  to  know  a  lot  of  things 
that  concern  my — welfare."  She  turned  to  the  telephone, 
called  up  a  number,  while  Arthur  watched  her  in  gloomy: 
silence.      Presently  he  heard  Mrs.  Kramer  speaking. 

"  Yes.  This  is  Helen.  No — worse — much  worse.  I'vedone 
all  I  could,  but  she's  shameless.  It  has  just  been  reported  to 
me  that  she's  with  him — at  his  house — now.  Yes — you'd  best 
hurry.  Oh  yes — I  got  your  letter  this  morning.  No — just  a 
momentary  infatuation — when  he  sees  you,  I  don't  doubt 
everything  will  be  all  right.  But  hurry.  Yes,  dear.  Good 
luck."  She  hung  up  the  receiver,  turned  to  Arthur  with  a 
triumphant  smile. 

"You — vou've  sent  her  to  Romain's  house?"  Arthur  gasped. 

"Certainly." 

"But — why.  Think  of  the  scandal — with  Joy  there,  and — ■ 
everything." 

"That  can't  be  helped.  I  should  think  you  would  see  that 
Miss  Gresham,  as  Romain's  fiance,  might  be  very  much  inter- 
ested in  finding  out  whether  or  not  he  is  with  another  woman." 

A  sudden  anger  swept  through  Lloyd's  dull  brain.  The 
breaking  off  of  Margot  Gresham's  engagement  to  Romain  was 
worth  a  hundred  thousand  dollars,  provided  he,  or  Joy,  accom- 
plished it.  Hut  to  have  it  broken  by  Margot  herself  was 
another  and  very  different  matter.  He  regarded  his  com- 
panion furiously,  realizing  his  helplessness. 

"I  won't  stand  for  it!"  he  exclaimed.  "I'm  going  to  call 
Joy  up,  and  warn  her  to  get  out — if  she's  there!"  He  went 
toward  the  telephone,  but  Mrs.  Kramer  was  ahead  of  him. 
She  placed  herself  defensively  before  the  little  table  on  which 
the  instrument  stood. 

66 


"No  you're  not.  Look  here.  Mr.  Lloyd.  I  know  what 
you're  afraid  of.  You  think,  if  Margot  Gresham  breaks  her 
engagement  to  Romain,  he'll  turn  hot-foot  to  Joy.  And  you 
don't  want  that.  Well — neither  do  I.  If  we're  going  to  work 
together,  we've  got  to  understand  each  other.  I'm  not  going 
to  let  Joy  have  him.  Shall  I  tell  you  why?  Because  /  love 
him  myself!" 

"You!     Good  God!"     Arthur  was  stupefied. 

"Yes.     I  ought  to  have  told  you  before." 

"But — you're  married." 

"What  difference  does  that  make?  Steve  and  I  got  over 
caring  about  each  other  long  ago.  Divorces  have  been  heard 
of,  in  picture  circles,  haven't  they?" 

Arthur  stood  silent,  collecting  his  chaotic  thoughts.  Sq 
many  incredible  things  had  happened,  within  the  past  few 
hours,  that  he  was  dazed.     Presently  he  spoke. 

"If  Miss  Gresham  breaks  her  engagement  to  Romain,"  he 
said  slowly,  "that's  all  right  for  you,  as  far  as  it  goes.  But 
what  about  Joy,  and  me?  If  she  cares  for  him,  as  you  say, 
and  he  cares  for  her,  we  won't  either  of  us  be  a  bit  better  off 
than  we  were  before." 

"We  would  have  been,"  Mrs.  Kramer  flung  back  at  him,  "if 
you  hadn't  been  fool  enough  to  give  her  that  confession.  I 
don't  say  that  Romain  cares  for  her.  I'm  not  at  all  sure  about 
it.  But  one  thing  I  am  sure  about — if  I  had  that  statement 
of  Porter's  to  hold  over  his  head,  I  could  force  him  to  do  what 
I  wanted.     It  may  take  a  long  time,  but  I  could  do  it." 

"You  couldn't  force  him  to  love  you — that  way,"  Arthur 
growled.     "By  threatening  him." 

"Do  you  suppose  I  am  that  crude,"  Mrs.  Kramer  asked, 
eyeing  him  derisively.  "  Couldn't  I  work  through  a  third  per- 
son, without  his  knowledge.  With  Margot  out  of  the  way, 
and  Joy  married  to  you,  I'd  have  a  clear  field,  and  that  is  all 
I  ask."  She  passed  her  hand  tleetingly  over  her  wide  forehead. 
"What  do  you  know  about  love,  or  Margot,  or  even  Joy?  I — 
I'd  go  through  hell  with  him,  and  be  glad  of  the  chance."  For 
a  moment  tears  shone  in  her  eyes,  then  she  recovered  herself. 
"If  I  only  had  that  confession!" 

"I — I  guess  I  could  get  another  one,"  said  Lloyd  weakly. 

"That's  our  only  chance.  And  we've  got  to  take  it.  We've 
got  to  find  this  man  Porter.  And  this  time,  I'm  going  with 
you,  to  see  that  you  don't  make  a  fool  of  yourself.  Go  out 
and  get  into  my  car.  You'll  find  it  in  front.  As  soon  as  I 
leave  a  note  for  Steve  I'll  join  you.  We're  going  to  Los  Angeles 
just  as  quickly  as  we  can  get  there." 

With  a  flame  of  desperation  in  her  eyes  she  flung  out  of 
the  room. 

CHAPTER  XXIII      . 

TO  JOY  the  drive  from  the  hotel  to  Jean  Romain's  house 
seemed  to  take  hours,  although  in  reality  it  consumed 
scarcely  ten  minutes. 

The  place  was  dark,  except  for  a  low  light  in  the  living  room. 
Joy  paid  the  cabman,  told  him  he  need  not  wait,  then  ran  up  the 
cement  walk  and  struck  softly  on  the  bronze  knocker. 

Romain  himself  came  to  the  door.  He  wore  a  brocaded 
dressing  gown,  and  in  his  hand  he  carried  a  book.  A  look  of 
amazement  swept  over  his  face  as  he  saw  Joy,  but  he  smiled 
in  spite  of  it  and  held  out  his  hand. 

"  Well — this  is  good,"  he  said,  "  to  see  you  here.  Won't  you 
come  in?"  The  awkwardness  of  the  situation  was  plain 
enough  to  both  of  them,  but  Joy,  with  tragedy  in  her  soul, 
brushed  aside  all  minor  considerations.  When  one  is  about  to 
tear  out  one's  heart,  sacrifice  it  on  the  altar  of  love,  conventions 
do  not  greatly  matter. 

"I've  got  to  come  in.  There's  something  I  must  tell  you." 
She  stepped  past  him  into  the  wide  hall. 

"  Come  in  here,"  Romain  said,  going  to  the  door  of  the  living 
room.  "I — I  was  reading."  He  pointed  to  an  easy  chair. 
"Won't  you  sit  down?" 

Joy  crouched  on  the  edge  of  her  seat,  her  face  like  a  death 
mask. 

"I  had  to  come,"  she  gasped,  "because  I  knew  you  were  in 
danger." 

"My  dear  girl!     In  danger  of  what?" 

"Wait."  She  fumbled  desperately  in  her  hand  bag,  drew 
out  some  crumpled  sheets.  "I  want  you  to  read  this  paper. 
But  before  you  do,  I've  got  a  confession  to  make — about  some- 
thing I've  done — something  I'm  horribly  ashamed  of." 

"You  couldn't  do  anything  you'd  have  to  be  ashamed  of," 
Romain  said,  standing  beside  her  chair. 


"Yes,  I  could.  And  have.  Listen 
to  me.  The  reason  I  came  to  Holly- 
wood was  this.  Mr.  Watrous — Philip 
Watrous — is  a  lawyer  in  New  York — 
a  friend  of  my  father.  Also  he  is  at- 
torney for  Mr.  Robert  Gresham." 
She  saw  the  start  which  Romain 
gave,  the  sudden  sombre  look  in  his 
eyes,  but  drove  relentlessly  on. 

"  Mr.  Watrous  came  to  me,  offered 
to  get  me  a  position  with  the  Royal,  if  I  would  undertake  to 
break  off  your  engagement  to  Margot  Gresham.  I  didn't  want 
to  do  such  a  thing,  of  course,  but — my  father  was  ill — blind — 
from  bad  liquor — I  hadn't  a  cent — the  play  I  was  in  had  closed, 
and — and  father  owed  Mr.  Watrous  a  lot  of  money,  that  he 
couldn't  repay.  I'm  not  trying  to  excuse  myself,"  she  went 
on.  "I  shouldn't  have  done  it — have  accepted  such  terms — 
but— I  did. 

"  They  didn't  ask  me  to  do  anything  dishonorable.  All  they 
wanted  was  the  truth,  about  you,  and — your  past.  About  the 
death  of  your  wife."  She  faltered  for  a  moment,  then  threw 
up  her  head  and  went  bravely  on.  "Mr.  Gresham  believed 
that  if  he  could  find  out  certain  things  about — that  night — he 
could  discredit  you — prevent  your  marriage  to  his  daughter. 
So  I  came.  I  had  to.  But  I  never  did  a  thing  against  you. 
Not  a  thing.  I  couldn't.  When  Helen  Kramer  offered  to 
furnish  me  with  certain  information,  I  refused  to  take  it.  I 
wouldn't  go  on.  Mr.  Gresham  was  to  pay  me  a  hundred 
thousand  dollars,  when  the  engagement  was  broken,  but — I 
don't  want  it.  I  wouldn't  touch  a  cent  of  it  for  anything  in 
the  world.  I  made  up  my  mind,  a  day  or  two  ago,  to  write  to 
Mr.  Watrous  the  moment  this  picture  we're  doing  was  finished, 
resigning  my  position  with  the  Royal,  and  asking  to  be  released 


"You!"  Margot  Gresham  exclaimed,  staring 
fiercely  at  Joy.  "All  these  weeks  you've  made  a 
fool  of  me.  Now  I  know  the  truth.  Helen 
Kramer  telephoned  me  this  girl  was  here  with 
you.  I  didn't  believe  it.  I  came  to  find  out.  She 
said  this  girl  and  you  were  mad  about  each  other. 
Nov)  I  know  it" 


from  our  agreement.  I  shall  write 
him  tomorrow.  I  can't  stand  this 
situation  any  longer.  It — it  is  break- 
ing my  heart."  She  rested  her  head 
on  her  arms,  sobbing  with  each  long, 
shuddering  breath. 

Romain  stood  gazing  down  at  her, 
his  face  very  grave,  yet  in  his  eyes 
there  was  a  deep  tenderness. 

"Poor  little  girl,"  he  whispered. 
"  I'm  sorry.  But,  since  you  haven't  done  anything,  why  should 
you  distress  yourself?    It's  all  over,  now." 

"Oh — but  it  isn't."  Joy  crushed  the  statement  Porter  had 
made  in  her  hand.  "I  have  something  here  that — that  would 
do  everything  Mr.  Gresham  wants." 

Romain's.face  took  on  a  deeper  gravity. 
"You  mean  to  say,"  he  asked,  "that  you  could  break  off  my 
engagement  to  Margot,  and  won't  do  it?" 
"Yes — oh  yes.     I  couldn't." 
"But  why?     Is  it  because  you  love  me?" 
The  suddenness  of  his  question  left  Joy  speechless.     She 
struggled  vainly  to  find  words. 

"Please  don't  let's  talk  about  that — now,"  she  whispered. 
"Why  not?     As  I  see  it,  if  what  you  say  is  true,  you  could 
smash  up  matters  between  Margot  and  myself,  earn  a  hundred 
thousand  dollars,  and  keep  your  position  with  the  Royal,  just 
by  giving  that  paper  you  have  in  your  hand,  whatever  it  may 
be,  to  Mr.  Gresham.     And  you  refuse  to  do  it.     Is  that  true?" 
"Y— yes." 
"But— why?" 

"Don't  ask  me  that.  You  must  know  I'm  not  crooked — 
low.  And  I  think  too  much  of  you  to  hurt  you.  So  when 
Arthur  LJoyd  got  this  confession  [  continued  on  page  96  ] 

57 


CLOSE-UPS 


WHAT  I  Hi:  PUBLIC  WANTS:  After 
seeing  "The  Miracle  Man."  a  famous 
producer  called  his  directors  together 
and  said.  "  The  Miracle  Man'  is  a  great  pic- 
ture. I  want  you  all  to  make  pictures  like  it 
All  night  I  lay  awake  thinking  why  it  is  a  great 
picture.  I  will  tell  you  why  it  is.  It  is  because 
when  that  girl  goes  upstairs  you  see  her  stock- 
ing with  a  hole  in  it.  Sex! — that's  what  the 
public  wants." 

Sex  is  still  the  strident  cry  of  the  studios. 
Players  must  have  "sex  attraction"  and  pic- 
tures must  have  "sex  appeal."  So  say  the 
producers.  Accordingly.  I  asked  ten  people 
what  they  liked  best  in  the  movies.  They  re- 
plied unanimously.  "The  comedies  and  the 
news  reel." 

Favorite  Films  of  Our  Favorite  Star:  A  star 
must  have  "sex  attraction."  I  suppose  that 
accounts  for  the  fact  that  Mr.  Harold  Clayton 
Lloyd  is  the  most  popular  star  of  the  screen 
today.  He  unquestionably  is.  For  the  right 
to  show  his  "Safety  Last"  in  the  city  of  Los 
Angeles  alone  an  exhibitor  paid  $50,000.  It 
occurred  to  me  that  it  might  be  interesting  to 
know  the  favorite  films  of  this  favorite  star. 
These  are  the  six  pictures  which  have  impressed 
Lloyd  most:  "The  Birth  of  a  Nation," 
"Cabiria,"  "Shoulder  Arms,"  "The  Miracle 
Man,"  "The  Three  Musketeers,"  "The  Cab- 
inet of  Dr.  Caligari." 

The  following  are  six  of  his  favorite  stars: 
Mary  Fickford,  Charlie  Chaplin,  Douglas 
Fairbanks,  Norma  Talmadge,  Buster  Keaton 
Ernest  Torrence. 

Motherly  Mickey:  Marshall  Neilan's  assist- 
ant took  the  company  up  North  on  location  to 
get  some  snow  scenes.  After  being  away  a  few 
days  he  wired  Mickey: 

"Have  some  wonderful  stuff,  but  it's  storm- 
ing so  hard  we  can't  get  back.  What  will  I 
do?" 

"Put  on  your  winter  flannels,"  wired 
Mickey. 

Sharlie  Not  Enough:  Pola  Negri  swooned 
during  the  production  of  "Hollywood."  Just 
before  taking  the  faint  she  had  the  presence  of 
mind  to  call  for  Sharlie — and  a  hot  water 
bottle! 


Our  Foreign  Possession: 
Hollywood  is  fast  becoming  a 
foreign  possession.  Since  the 
success  of  Rodolpho,  Ramono 
and  Pola,  every  sexy  steerage 
passenger    arriving    at    our 


^r     I*  AVOfVp 


CLO.TFO/ 

OAy-*"1   OQ  A 


ports  makes  straight 
for  the  sheik  and 
sheba  fields.  As  a 
result,  the  town  is  as 
polyglot  as  Constan- 
tinople.  On  the 
Boulevard  you  hear 
Polish,  Spanish, 
French,  Swedish, 
Russian,  Hebrew 
and  every  now  and 
then  a  word  of  Eng- 
lish. In  a  few  years 
I  predict  Hollywood 
will  have  a  language  of  its  own.  As  an  indica- 
tion, I  copy  verbatim  a  sign  from  the  window 
of  the  Shanghai  cafe  on  the  Boulevard. 

CLOSED.       WILL    liil     REOPEN    AGAIN    WITHIN 
ABOUT  FEW  DAYS  OR  A  WEEK  SO. 

'Sheiks  of  Hollywood:  There  are  more  sheiks 
in  Hollywood  than  in  the  Sahara.  They  slink 
the  Boulevard,  droopy  of  eye  and  of  cigarette, 

68 


6?  LONG 
SHOTS 

By  Herbert  Howe 


complexions  ranging  from  oleomargarine  to 
deepest  anthracite.  While  seated  in  a  Holly- 
wood barber  chair  I  happened  to  remark  to  a 
casting  agent,  who  was  waiting  his  turn  that 
Lillian  Gish  wanted  a  leading  man  of  the  Latin 
type.     Instantly  my  chair  was  whirled  vio- 


lently around,  and  the  barber  hissed,  "Look 
at  the  man  in  the  second  chair."  Confronting 
me  was  a  dark  lowering  individual  who  looked 
as  though  he  might  have  tied  his  peanut 
roaster  outside.  "If  he  won't  do,"  whispered 
the  barber,  "I  have  another  customer — dark, 
slick  hair,  sexy — who  will  be  in  for  a  shave  in  a 
few  days."  No  wonder  producers  have  so 
many  Valentino  successors  when  you  can  get 
one  with  every  hair-cut! 


A  Thoroughbred  Star 

We  award  the  monthly 
medal  to — 


M.  Charles  de  Roche 


Actor,  athlete,  hero  of  Ver- 
dun and  holder  of  the  Croix 
de  Guerre  with  four  palms. 


In  "The  Law  of  the  Lawless" 
he  proves  his  stellar  value, 
and  I  predict  that  as  Rameses 
II  in  "The  Ten  Command- 
ments" he  will  be  hailed  a  new 
Pharaoh  of  the  Photoplay. 


Our  Cure  for  Kleig  Eyes:  The  Goldwyn 
Company  recently  offered  $5,000  to  anyone 
who  could  discover  a  cure  for  kleig  eyes,  a 
blinding  affliction  caused  by  the  powerful 
studio  lights.  Among  the  remedies  submitted 
by  mail  thus  far  are: 

Diet. 

Castor  oil. 

A  bag  of  radium  to  be  worn  around  the  neck. 

Smoked  glasses  (for  both  the  actors  and  the 
lights). 

_  Tobacco  juice  (suggested  by  a  railroad  en- 
gineer who  says  he  can  stare  any  headlight  in 
the  face  if  he  first  aims  a  squirt  of  chewing 
tobacco  at  each  optic). 

But  I  believe  I  have  the  best  remedy. 
Just  drop  a  cipher  off  the  afflicted  player's  pay 
check;  his  blindness  will  be  healed  instantly. 

Seasoned  Beginners  Wanted:  Producers  say 
they  want  new  personalities.  What  they 
really  want  are  new  people  with  ten  years 
screen  experience  and  big  names. 

Prize  Line  of  the  Month:  After  profound  re- 
search on  the  subject,  Viola  Dana  makes  the 
following  statement:  "There  aren't  any  cave 
men — only  rough  necks." 

Our  Catty  Critic:   The  carelessness  of  critics 
makes  countless  thousands  mourn.     The  fol- 
lowing is  a  letter  addressed  to  our  particular 
offender  reproaching  him  for  flagrant  prejudice. 
Dear  Sir:  I  note  in  your  reviews  of 
"Little  Heroes  of  the  Street"  and  "The 
Hero"  you  make  no  mention  of  Cameo, 
the  educated  canine.     Perhaps  you  are 
not  a  lover  of  canines  or  dogs.    There 
are  millions  of  picture  fans  who  are. 
Cameo  is  only  3  years  old  and  is  asked  to 
do  something  different  every  day.     I 
have  spent  3  years  of  my  life  making 
Cameo  the  perfect  picture  dog.     But 
if    I    keep    on    making    pictures    with 
Cameo  and  she  is  never  given  credit  for 
what  she  does,  I  will  have  wasted  3 
years  of  my  life — Sincerely  yours — 

Hap  H.  Ward,  Los  Angeles,  Cal. 

I  feel  that  an  apologetic  bark  is  due  Cameo. 

I  can  only  explain  the  critical  misdemeanor  by 

. -~~ \  the  fact  that  our  critic  has 

twelve    cats    and    not   a 

single  canine  or  dog.  This 

shows  where  he  stands  in 

the  old  religious  feud  of 

the  Canines  and  Felines. 


/ 


Aj 


\ 


Polo's  Only  Rival: 
The    best    perform- 
ance of  the  month,  - 
regardless    of    what 
our  critic  may  say,  is 
the  emotional  work  < 
of  Mt.  Etna  in  the.0 
news  reel. 


Settling  Down:  No  one  ever  dies  in  Califor- 
nia, so  perfect  is  the  climate.  So  say  the  native 
sons,  some  of  whom  certainly  look  as  though 
they  had  overstayed  their  time.  Will  Rogers 
tells  of  a  man  of  eighty-nine  who  wanted  to 
buy  a  residence  in  Hollywood. 

"I  won't  sell,"  said  the  owner,  "But  I'll  give 
you  a  ninety-nine  year  lease." 

"Won't  do,"  said  the  old  gentleman.  "I 
can't  be  moving  every  day." 


Temperament? 
Pshaw! 


Says  Allan  Dwan 


"If  a  director  commands 
a  stars  respect, 
he  will  have  no  trouble' 


By  Frank  T.  Pope 


1 1 


"OU'RE  all  wrong,"  said  Allan 
Dwan  earnestly — so  earnestly 
that  he  even  straightened  up  in 
his  chair  and  dropped  his  feet 
off  his  desk.  "Temperamental  stars  in 
pictures?    There's  no  such  animal." 

Mr.  Dwan  had  been  asked  for  an  in- 
terview on  "Handling  Temperament," 
and  now,  almost  before  the  interview 
started,  he  had  apparently  ruined  it. 
How  could  he  talk  about  temperamental 
stars  if  they  didn't  exist?  Besides,  he 
must  be  wrong.  All  actors  and  actresses 
are  supposed  to  have  temperament,  and 
the  greater  the  star,  the  more  pro- 
nounced the  temperament. 

That  has  been  the  excuse  for  years 
whenever  an  actress  creates  a  scene  in  a 
theater  or  in  public,  when  one  has  fits  of 
temper  or  affects  a  weird  style  of  dress. 
However,  Mr.  Dwan  should  know.  He 
has  been  in  the  picture  business  sixteen 
years,  has  directed  many  stars  and  is  at 

present  directing  Gloria  Swanson — who  said  temperament? — 
in  "Zaza."     So  let  him  talk. 

"No,  sir,"  he  repeated,  "there  are  no  temperamental  motion 
picture  stars.  At  least,  I've  never  found  any.  Scenario  writers 
and  managers,  yes,  but  not  stars. 

"An  actress  worth  anything  absolutely  sinks  herself  in  a 
role.  For  the  time  she  is  before  the  camera  she  is  not  herself, 
but  the  character  she  is  portraying.  If  she  can't  do  that,  she  is 
not  worthy  of  being  a  star.  What  she  may  do  while  she  is  that 
character  is  not  temperament;  it  is  acting,  and  that's  what  she 
is  paid  for. 

"I've  handled  a  lot  of  stars  and  I  don't  know  any  tempera- 
mental ones  in  the  sense  you  mean.  If  an  actress  has  any 
respect  for  her  director,  if  the  director  has  the  ability  to  com- 
mand her  respect,  he  won't  have  any  trouble.  If  she  knows 
more  about  his  business  than  he  does,  that's  his  fault,  not  hers." 

"Where,  then,"  he  was  asked,  "do  all  these  stories  of  tem- 
perament come  from?" 

"From  the  press  agents,  most  of  them."  he  answered.  "Of 
course,  there  are  some  men  and  women  in  pictures  who  are 
what  the  public  calls  temperamental.  But  they're  just  mani- 
acs, that's  all.    They  haven't  good  sense. 

"Now,  see  here,"  he  went  on,  again  becoming  earnest  and 
bringing  his  feet  to  the  floor  with  a  bang.  "Just  now  I'm 
directing  Gloria  Swanson  in  'Zaza.'  She  has  the  reputation  of 
being  a  temperamental  star.  I  tell  you  I  never  worked  with  an 
actress  who  was  easier  to  direct,  who  caught  an  idea  quicker, 
who  carried  it  out  better  or  more  intelligently,  and  who  was 
more  human  in  her  behavior  at  all  times.  She  hasn't  a  bit  of 
what  is  called  temperament.     But  she  has  magnificent  talent. 


Can  you  imagine  being  temperamental  when  facing  this  camera  and  with 
the  eyes  of  Allan  Dwan  seeking  for  every  defect  in  make-up  or  acting? 


She  loses  herself  so  completely  in  her  role  that  she  is  Zaza  and 
not  Gloria  Swanson,  and  she  does  things  as  Zaza  that  Gloria 
Swanson  never  would  do.  But  that  isn't  temperament.  She's 
a  great  actress." 

"How  about  some  of  the  others,  Mr.  Dwan?  Those  who  are 
not  stars  but  think  they  should  be?" 

"Oh,  the  second-raters,  "he  said,  rather  disgustedly.  "They're 
the  ones  who  make  all  the  trouble.  They  think  that  by  being 
late  on  the  set,  by  cutting  up  rough  and  refusing  to  obey  in- 
structions, they  make  themselves  more  important.  But  they 
are  not  temperamental.  They're  just  unfair.  They  take 
money  and  then  don't  deliver  what  they  have  agreed  to  sell." 

Well,  there  was  at  least  one  more  chance  to  make  the  inter- 
view. 

"Have  you  ever  directed  Pola  Negri?"  he  was  asked. 

Mr.  Dwan  smiled — and  when  he  smiles  he  is  a  very  smily 
individual. 

"No,"  he  said,  "I  haven't.  But  I  think  a  lot  of  people  have 
the  wrong  idea  about  her.  They  don't  understand.  I  don't 
think  she  is  so  hard  to  handle.  The  trouble  is  that  she  has 
the  Continental  mind  and  viewpoint.  She  doesn't  think  as  we 
do.    She'll  learn  our  ways  and  then  she'll  be  all  right." 

Now  what  can  you  do  with  a  man  who  says  Pola  isn't  tem- 
peramental? However — there  are  the  "second-raters,"  as  he 
calls  them. 

"But  about  these  others,  Mr.  Dwan;  what  do  you  do  when 
one  of  them  is  unfair?" 

Mr.  Dwan  glared  through  his  dark  glasses.     (The  studio 
lights  bother  his  eyes  a  good  deal.) 
.  "Treat    'em    rough,"    he   said  [  continued  on  page  95  ] 

68 


THE  NATIONAL  GUIDE  TO  MOTION  PICTURES 


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The 


THREE  WISE  FOOLS— Goldwyn 

A  SCREEN  version  of  a  stage  success  that  will  probably 
entertain  the  whole  family — and  yet  a  production  of 
little  real  significance.  This  popular  story  of  three  old 
bachelors  who  adopt  a  daughter  and  are  soon  regenerated 
into  a  new  way  of  thinking  was  one  of  the  footlight  hits  of 
several  seasons  ago.  Like  many  another  hit,  it  was  replete 
with  stage  trickery  and  hokum,  neatly  gilded  for  the  box- 
office  trade.  Perhaps  this  artificiality  tripped  up  the 
director,  King  Vidor.  Anyway,  "Three  Wise  Fools"  does 
not  ring  true,  despite  its  entertainment  values.  The  usual 
human  note  of  Vidor  is  missing.  Yet,  as  we  have  said,  the 
thing  will  appeal  to  the  masses.  It  has  all  the  superficial 
"heart  pull"  of  the  original  play.  Somehow  we  could  not 
get  interested  in  the  acting  of  this  celluloid  version.  To  us, 
the  three  wise  fools  were  fussy,  artificial  old  fellows. 


RUPERT  OF  HENTZAU—Selznick 

RUPERT  OF  HENTZAU"  is  a  lively,  romantic  tale 
and  not  bad  entertainment,  by  any  means.  But,  it 
Rex  Ingram's  "The  Prisoner  of  Zenda"  is  something  of  a 
pleasant  cinema  memory,  you  are  going  to  be  very,  very 
much  disappointed  with  this  sequel,  which  carries  on  the 
glamorous  adventures  of  Flavia,  Rodolph  Rasscndyll  and 
Rupert.  And  it  is  impossible  to  forget  Alice  Terry,  Louis 
Stone  and  Ramon  Novarro  in  these  characterizations.  The 
Selznick  powers-that-be  apparently  went  out  and  bought 
an  all-star  cast  and  then  poured  the  cast  into  the  story. 
Certainly  Elaine  Hammerstein,  Bert  Lytell  and  Lew  Cody 
do  not  seem  at  all  at  home  as  these  lovably  heroic  and 
wicked  folk.  And  yet,  with  all  this  in  mind,  we  wouldn't 
be  at  all  surprised  if  you  liked  "Rupert  of  Hentzau." 

H 


Shad 


ow 


A  Review  of  the  J\[ew  Pictures 


MERR  Y-GO-ROUND—  Universal 

ERICH  VON  STROHEIM  played  a  large  part  in  the 
creation  and  making  of  "Merry-Go-Round,"  despite  the 
fact  that  the  film  itself  fails  to  make  mention  of  it.  Von 
Stroheim  wrote  the  story  and  started  the  production,  which 
was  completed  by  Rupert  Julian. 

Von  Stroheim  started  out  with  an  ordinary  story,  but  he 
invested  it  with  symbolism  and  more  than  one  touch  of  the 
mellow  old-world  cynicism  of  Molnar  and  Schnitzler.  In 
the  hands  of  Julian  the  opus  lost  some  of  its  Continental 
gloss.  It  became  an  "Affair  of  Anatol."  Yet,  with  all  this, 
"  Merry-Go-Round  "  is  decidedly  different.  It  is  permeated 
with  the  flashing,  decadent  atmosphere  of  Vienna  in  the 
gay  days  before  the  world  war  put  its  crushing  boot  upon  the 
capital  of  the  tottering  empire. 

A  lieutenant  of  the  royal  court  of  Franz  Joseph  is  fas- 
cinated by  a  little  organ  grinder  of  the  Prater,  the  Coney 
Island  of  Vienna.  At  first  only  a  passing  fancy  of  a  cynical 
young  boulevardier,  the  girl  becomes  the  dominating  force 
of  his  life.  He  is  forced  into  a  court-made  marriage,  but  the 
war  comes  to  liberate  him  and  make  him  realize  the  essen- 
tials of  life  stripped  to  its  realities.  Von  Stroheim,  we  sus- 
pect, started  out  to  show  that  life  is  a  merry-go-round, 
rolling  pleasantly  in  a  circle.  In  its  present  form,  "Merry- 
Go-Round"  shows  that  life,  after  all,  leads  right  up  to  the 
conventional  sunset  fadeout,  with  the  usual  clutch,  the  usual 
back  lighting  and  the  usual  garden. 

"  Merry-Go-Round  "  is  very  well  played,  indeed.  Norman 
Kerry  is  the  lieutenant  who  becomes  regenerated.  His  is 
a  surprisingly  good  performance,  the  best  he  has  ever  given 
the  screen.    For  the  sophisticated  only. 


SAVES  YOUR  PICTURE  TIME  AND  MONEY 


The  Six  Best  Pictures  of  the  Month 


PETER  THE  GREAT 
MERRY-GO-ROUND 
CIRCUS  DAYS 


HUMAN  WRECKAGE 
THREE  WISE  FOOLS 
RUPERT  OF  HENTZAU 


The  Six  Best  Performances  of  the  Month 

Bessie  Love  in  "Human  Wreckage" 

Emil  Jannings  in  "Peter  the  Great" 

George  Hackathorne  in  "Human  Wreckage" 

George  Hackathorne  in  " Merry -GcRound" 

Dagny  Servaes  in  "Peter  the  Great'" 

Mary  Philbin  in  "MerryGo-Round" 

Casts  of  all  pictures  reviewed  will  he  found  on  page  120 


PETER  THE  GREAT— Paramount 

ANOTHER  foreign-made  picture,  "Peter  the  Great," 
has  arrived  to  prove  again  to  the  frequently  over- 
confident American  producer  that  he  has  no  monopoly  in 
making  good  films.  Here  is  a  picture  that  has  a  remarkably 
interesting  story,  fine  direction,  excellent  sets  and  lighting, 
and,  in  at  least  four  instances,  exceptional  acting.  Of 
course,  this  last  is  to  be  expected  of  Emil  Jannings  and 
Dagny  Servaes,  but  equal  credit  must  go  to  two  others — 
Bernhard  Goetzke  who  plays  Menchikoo,  the  prime  min- 
ister, and  Walter  Janssen,  who  is  Alexei,  son  of  the  great 
Peter. 

The  story  of  Peter,  whose  first  lessons  about  ruling  Russia 
were  learned  in  a  shipyard,  and  of  Catherine,  vivandiere 
and  daughter  of  the  regiment,  raised  to  the  throne  by  Peler, 
is  one  of  absorbing  interest  always.  And  it  is  exceptionally 
well  told  in  this  picture.  The  drawing  of  the  characters  of 
Peter  and  Catherine  is  done  in  a  manner  to  arouse  deep 
admiration  for  the  man  or  men  responsible.  Some  of  the 
sets  are  magnificent,  and  the  lighting  of  the  interiors  is 
strikingly  fine. 

It  was  during  Peter's  reign  that  Russia  was  at  war  with 
Sweden,  and  these  battle  scenes,  participated  in  mainly  by 
foot  soldiers,  are  novel  and  realistic.  In  the  masterful 
hands  of  Mr.  Jannings,  Peter's  rages  and  his  tender  mo- 
ments, his  cruelty  and  his  sense  of  humor  make  a  most 
human  combination  of  man  and  emperor.  Miss  Servaes  is 
a  bewitching  Catherine,  whether  "vamping"  Peter  or  re- 
pulsing the  prime  minster. 

In  brief,  "Peter  the  Great"  is  a  real  picture  and  one  that 
should  not  be  missed. 


HUMAN  WRECKAGE— F.  B.  O. 

NOT  a  cheery  story  for  the  whole  family  and  yet  a  pic- 
ture that  will  probably  do  the  old  world  a  lot  of  good. 
The  drug  evil  has  never  known  so  stiff  a  celluloid  uppercut. 
'  "Human  Wreckage"  starts  out  to  show  the  inevitable  break- 
ing down  of  the  physical  and  moral  fiber  of  a  narcotic 
victim — and  does  it  very  completely.  The  story  deals  with 
a  young  lawyer  who  falls  a  victim  to  dope  and  who  comes 
face  to  face  with  complete  failure — and  death.  How  he 
fights  back,  aided  by  a  faithful  wife,  is  the  theme.  "Human 
Wreckage "  is  well  played  and  very  well  acted,  particularly 
by  Bessie  Love  and  George  Hackathorne.  Special  merit 
attaches  to  the  excellent  performance  given  by  Mrs.  Wallace 
Reid,  and  it  was  largely  through  her  instrumentality  that 
the  production  was  made.  She  gives  a  portrayal  that  is 
most  effective. 


CIRCUS  DAYS— First  National 

THERE  is  perhaps  no  star  of  the  screen  who  is  so  large  a 
part  of  his  pictures  as  Jackie  Coogan.  This  has  been 
proven  many  times,  and  it  is  proven  again  in  "Circus 
Days,"  his  latest  First  National  picture.  When  Jackie  is  on 
the  screen,  the  picture  is  amusing  and  entertaining.  When 
he  is  not,  the  clouds  of  mediocrity  gather  rapidly.  "Circus 
Days"  has  many  laughs  and  many  more  smiles  and  chuckles. 
Jackie  is  a  poor,  little  country  boy,  whose  close-fisted  uncle 
won't  let  him  go  to  the  circus.  So  he  stages  a  circus  of  his 
own,  as  a  result  of  which  he  runs  away  to  escape  a  whipping. 
He  joins  the  real  circus  as  helper  at  the  lemonade  stand, 
substitutes  for  Babette,  the  "youngest  bareback  rider  in  the 
world,"  and  makes  a  wonderful  hit  by  his  involuntary  clown 
riding,  rivaling  Bagongo,  the  famous  clown  equestrian. 

65 


SUCCESS— Metro 

MELODRAMA  sugared  by  a  coating  of  mawkish  senti- 
ment. The  play  had  a  sickly  career  in  a  near-Broad- 
way house  five  years  ago  that  ended  in  disaster.  Its  screen 
revival  has  repeated  the  unpleasing  features  of  the  story  of 
a  theatrical  family,  broken  by  intemperance,  and  the  return 
of  an  old  actor  in  the  role  of  King  Lear,  which  he  plays  to  the 
Cordelia  of  his  unrecognized  and  unrecognizing  daughter. 


THE  SELF-MADE  WIFE— Universal 

THE  first  three-quarters  of  this  picture  have  been  trans- 
ferred very  deftly  from  the  Saturday  Evening  Post  to  the 
screen.  But  the  ending  takes  quite  a  tumble,  and  all  for 
the  sake  of  forcing  in  a  typical  jazz  party  where  it  is  neither 
needed  nor  wanted.  The  story  tells  of  a  husband  who  is 
able  to  progress — and  of  a  wife  who  doesn't  know  how.  An 
interesting  idea. 


1          "  -"'■ 

4"^  1 

EX       W^^- , .. Mr  ■ 

THE  LAW  OF  THE  LAWLESS— Paramount 

THIS  Conrad  Bercovici  gypsy  story,  apparently  of  high 
color  and  picturesqueness,  never  seems  real  any  where. The 
scene  is  the.  borderland  between  Asia  and  Europe,  the  action 
the  conflict  between  a  gypsy  chief  and  the  Tartar  girl  he 
has  bought  at  auction.  Dorothy  Dalton  is  the  heroine — and 
very  artificial.  Charles  de  Roche  is  at  least  physically  massive 
as  the  chieftain      You  may  like  him  very  much. 


THE  MYSTERIOUS  WITNESS— F.  B.  O. 

THE  story  of  a  self-sacrificing  son  whose  Elsie  Dinsmorian 
sufferings  would  bring  tears  to  any  eyes.  What  that 
boy  faces  and  undergoes  for  the  sake  of  his  mother — who  is 
feeble  and  sweet  and  typically  screen!  The  boy  finally 
reaches  jail,  and  trial  for  murder.  And,  of  course,  he  is  saved 
in  the  nick  o'  time.  But  why  list  details?  See  the  title, 
and  let  it  go  at  that! 


THE  FOG— Metro 

THIS  story  of  small-town  ethics  with  the  old  side  issue  of 
"how  his  soul  was  saved"  would  be  more  interesting  if 
it  had  better  direction.  The  cast  is  good,  but  the  con- 
tinuity is  poor,  the  whole  picture  being  rather  patchy.  The 
principal  character  is  a  poet,  who  starts  life  in  a  tannery 
and  winds  up  as  a  hero  in  the  late  war,  which  is  dragged 
in  by  the  heels.     Of  course,  he  wins  the  girl  he  loves. 

66 


McGUIRE  OF  THE  MOUNTED— Universal 

ANOTHER  M.  P.  story,  with  the  hero  as  brave  and 
dauntless  as  usual.  In  this  opus  he  is  tricked  into  a 
marriage  with  a  dance  hall  girl,  but  he  doesn't  let  it  ruin 
his  own  plans.  In  fact  he  braves  false  charges,  scandal  and 
near  death,  proving  himself  to  be  a  real  hero  —  and  in  the 
end  comes  out  on  top.  This  is  a  fast  moving  story,  of  a 
type  that  is  still  popular. 


SAWDUST—  Universal 

TENT  circus  scenes  set  the  play  in  motion.  The  locale 
changes  from  clownland  to  the  home  of  a  rich  couple 
whose  (laughter  disappeared  while  an  infant,  and  whom  the 
girl  clown  is  induced  to  impersonate.  Gladys  Walton,  as 
the  clown,  falls  from  the  performing  wire  in  the  tent,  per- 
forms acrobatics  in  her  new  home,  and,  when  comedy  turns 
to  tragedy,  tries  to  drown  herself.     Realism  unconfined. 


SHOOTIN'  FOR  LOVE— Universal 

SHELL-SHOCK,  the  most  mysterious  effect  of  the  great 
war,  has  been  made  the  underlying  theme  of  a  swift 
moving  western.  The  hero  comes  back  from  active  service 
and  a  base  hospital,  overseas,  with  the  knowledge  that  any 
noise  will  shatter  his  nerves.  He  walks  right  into  a  family 
feud,  in  which  dams  are  dynamited  and  there's  plenty  of 
shooting.     A  unique  plot,  with  a  pleasant  love  interest. 


WANDERING  DAUGHTERS— First  National 

JAMES  YOUNG  takes  credit  for  both  the  scenario  and  the 
direction  of  this  drama.  Which  forces  us  to  lay  the  blame 
at  his  door.  This  is  a  story  of  a  small  town  with  a  country 
club  and  a  fast  younger  set.  The  set  isn't  quite  fast  enough, 
unfortunately,  to  keep  the  story  moving  along  at  a  suffi- 
ciently reasonable  rate  to  make  it  interesting.  Silly,  point- 
less and  banal. 


THE  RAPIDS— Hodkinson 

MAN  power  and  water  power.  Showing  what  a  splendid 
organizer  can  do  when  it  comes  to  building  an  industrial 
city  where  a  sleepy  little  town  and  an  untamed  river  once 
governed  the  landscape.  The  story  is  a  conventional  one — 
with  the  usual  rescues  from  the  rapids  and  the  usual  strikes. 
But  the  scenes  in  a  great  steel  plant  are  interesting  and  out 
of  the  ordinarv.     The  cast  is  good. 


DESERT  DRIVEN— F.  B.  O. 

THE  best  vehicle  that  Harry  Carey  has  had  for  a  long 
time — a  story  that  starts  in  a  southwestern  prison  and 
ends  in  the  desert.  A  man,  wrongly  accused  of  a  crime, 
escapes  from  prison  and — though  desperately  wounded  — 
manages  to  find  a  haven  in  a  friendly  ranch  house.  There 
he  also  finds  love  and  a  great  deal  of  adventure.  Carey  is 
unfortunate  in  his  choice  of  a  leading  woman. 


CHILDREN  OF  JAZZ— Paramount 

A  SOLDIER  of  fortune,  returning  from  a  successful 
revolution,  discovers  that  his  promised  wife  has  suc- 
cumbed to  the  jazz  influence.  After  denouncing  her,  he 
leaves  the  country,  but  fate  brings  them  together  again 
under  very  strange  circumstances.  Some  delightful  pho- 
tography and  quaint  costuming — together  with  a  unique 
plot.     Good  entertainment.  [  continued  on  page  95  ] 

67 


Gossip- 
East  6?  West 


By  Cal  York 


MONTE  BLUE  and  his  wife  have  been  sep- 
arated for  some  time  and  Mrs.  Blue  was 
suing  for  divorce.  Then  Monte  nearly  got 
killed  in  a  bad  fall  while  making  his  last  pic- 
ture. Mrs.  Blue  rushed  to  his  bedside  at  the 
hospital  to  nurse  him — and  a  most  dramatic 
reunion  took  place,  which  may  result  in  a 
reconciliation. 

Xo  sooner  had  they  carried  Monte  from  the 
stretcher  into  the  narrow  hospital  cot,  where 
he  lay  moaning  with  pain,  than  his  pretty  wife 
came  and  knelt  beside  him.  From  that  mo- 
ment on  she  never  left  him,  giving  him  a  cheer- 
ful devotion  and  loving  care  that  the  doctors 
declare  turned  the  balance  between  life  and 
death  in  Monte's  favor. 

Neither  of  them  will  admit  are  conciliation, 
but  everyone  who  has  called  upon  Monte  and 
seen  Mrs.  Blue  installed  in  the  sick  room,  be- 
lieves that  one  divorce  at  least  isn't  going  to 
happen. 

Monte  and  his  wife  had  been  married  ten 
years  when  the  separation  took  place. 

CUCCESS  sometimes  brings  its  little  trage- 
L-'dies.  Wealth  and  fame  demand  of  us  pay- 
ment in  friendships  broken  and  sacrifice  of 
things  once  dearer  than  money  could  buy. 

Not  so  very  many  years  ago  two  young  men, 
C|uite  penniless  and  very  happy,  stood  on  the 
-idewalk  of  a  draggling  little  village  called 
Hollywood.  They  had  met  in  the  maelstrom 
of  an  extra  mob  scene.  And  that  something 
which  is  as  fine  as  love  and  sometimes  so  much 
more  lasting  had  sprung  up  between  them. 
The  friendship  that  made  Damon  and  Pythias 
immortal. 

Their  names — quite  and  absolutely  unknown 
in  those  days — were  Harold  Lloyd  and  Hal 
Roach.  Harold  Lloyd  wanted  to  act — wanted 
to  be  something  more  than  an  Indian  in  a  mob 
scene.  Hal  Roach  had  plans,  oh,  great  plans 
for  being  a  producer.  Well,  between  them  they 
started.  Hal  scraped  together  $150.  Their 
studio  was  Westlake  Park.  Their  scenery  was 
the  wide,  wide  world.  Their  story  was  on  their 
(  ufK  They  made  a  one-reeler,  every  scene  of 
it  -hot  outdoors.  That  was  the  first  Hal  Roach 
pi  t'ire  starring  Harold  Lloyd. 

They  were  very  poor.  They  were  very  hard- 
worked.  They  were  filled  with  yearnings  they 
could  not  satisfy.  But  they  had  an  awful  lot 
of  fun.  Today — who  doesn't  know  them  to- 
day? Their  last  picture,  "Safety  Last,"  will 
gross  many  hundreds  of  thousands  of  dollars. 
They  are  both  famous,  both  successful,  both 
very  rich. 

And  now  they  are  separating. 
The  chain  of  pictures  that  began  with  the 
little  one-reeler  that  cost  $150  ended  with 
"Safety  Last."  From  now  on  Harold  is  to 
produce  his  own  features  and  Hal  Roach  is  to 
produce  companies  which  he  himself  owns  en- 
tirely. Both  of  them  hated  the  break.  Both 
of  them  dreaded  it.  But  it  had  to  come.  The 
<  old  steel  hand  of  commercialism,  the  heartless 
necessities  of  the  business  world,  forced  them 
apart.  Harold  needed  his  own  producing  unit 
all  to  himself. 

For  the  last  three  pictures  he  has  been  prac- 
tically on  his  own.  Roach  has  eight  other  com- 
panies working,  which  are  100%  his.    He  has 

68 


J  mining  from  this  panoramic  view  af  the  structures  now  in  course  of  con- 
struction for  "The  Thief  of  Bagdad,"  Doug.  Fairbanks  intends  to  live  up  to 
his  promise  of  eclipsing  "Robin  Hood,"  at  least  in  magnitude  of  sets. 


only  a  20%  interest  in  the  Lloyd  productions. 
Roach  is  working  to  establish  his  own  people — 
his  "Our  Gang"  kid  comedies,  Will  Rogers, 
who  is  to  work  for  him,  Snub  Pollard,  some 
new  comics  called  "The  Spat  Family." 

Success  has  claimed  them  both.  But  I  won- 
der if  they're  any  happier  than  they  were  when 
they  figured  out  together,  always  laughing  at 
themselves,  how  to  make  a  one-reel  comedy 
for  $150? 

CORINNE  GRIFFITH  is  to  play  the  lead 
in  Gertrude  Atherton's  "Black  Oxen,"  the 
part  of  a  woman  of  sixty  who  is  rejuvenated. 
In  Hollywood  they  are  predicting  Corinne  the 
next  great  star  of  the  screen.  After  heavy 
competition  among  producers,  First  National 
secured  her  on  a  long  term  contract  whereby 
she  will  head  her  own  production  unit,  with  the 
right  to  choose  directors  and  pass  on  stories. 

Corinne  recently  completed  "Six  Days"  for 
Goldwyn,  directed  by  Charles  Brabin,  who 
made  "  Driven."  Before  leaving  for  New  York 
to  purchase  clothes  and  to  complete  business 
arrangements  she  was  entertained  at  a  fare- 
well dinner  given  in  the  Ambassador  by 
Blanche  Sweet,  Bessie  Love  and  Carmel 
Myers.  She  returns  to  California  in  two 
months. 

TTHE  casting  director  of  the  Goldwyn  studio 
*■  brought  a  very  handsome  and  very  accom- 
plished young  actor  of  the  New  York  stage 
into  the  office  of  June  Mathis,  scenario  head 
and  supervising  director  of  the  Goldwyn  or- 
ganization. 

Miss  Mathis,  who  was  busy  writing,  gave 
one  hurried  look  at  the  actor,  recommended 
for  an  important  role,  and  said  briskly,  "Not 
the  type,  not  the  type.    Take  him  away." 

The  young  actor  retired  in  confusion  and  the 
casting  director  returned  in  amazement  to  Miss 
Mathis,  who  has  the  reputation  of  being  the 
kindliest  and  sweetest  woman  in  pictures.  He 
found  her  doubled  up  with  laughter. 

"Just  a  few  years  ago  in  New  York,"  she 
said  between  giggles,  "I  was  taken  into  his 
office  and  recommended  for  a  part.  A  stage 
part.  And  that's  exactly  what  he  said.  I 
never  forgot  it.    I'm  glad  I  didn't."    And  she 


went  into  another  burst  of  laughter  as  the 
casting  director  went  out. 

OH,  what  a  picture  this  is  going  to  be!  I 
was  on  the  set  the  other  day  and  I  watched 
Edward  Horton  and  Ernest  Torrence  and 
Louise  Dresser — a  trio,  by  the  way,  of  eminent 
stage  artists — playing  the  great  drunk  scene 
from  "Ruggles  of  Red  Gap." 

Well — it  was  immense,  that's  all.  And  the 
poker  scene  in  which  the  wild  and  woolly  Egbert 
fcom  Red  Gap  wins  the  polished  valet  Ruggles 
from  an  English  lord — don't  miss  it.  I  never 
saw  anything  in  a  theater  as  funny  as  the  scenes 
I  saw  being  photographed  by  Jimmie  Cruze — 
of  "Covered  Wagon"  fame. 

Just  by  way  of  predicting  and  being  able  to 
say  "I  told  you  so,"  watch  Edward  Horton. 
If  he  doesn't  run  Charles  Chaplin  and  Harold 
Lloyd  a  close  race  later  on,  we're  all  wet. 

Louise  Dresser,  who  for  years  was  «Willie 
Collier's  leading  woman,  says  he's  so  much  like 
Collier  in  the  way  he  plays  a  scene  and  the  way 
he  gets  his  laughs  that  she  has  to  shake  herself 
every  few  minutes  not  to  feel  the  clock  has 
turned  back  a  few  years  and  she  is  rehearsing 
with  Collier  again. 

HAROLD  LLOYD  gave  Mildred  Davis 
Lloyd,  his  charming  bride,  a  beautiful  sap- 
phire and  diamond  bracelet  for  his  birthday. 
When  he  came  home  from  the  studio  he  told 
Mildred  he  was  awfully  glad  he'd  been  born 
so  he  could  marry  her,  and  if  she'd  go  look  in 
her  room  she'd  find  something.  It  was  an 
enormous  packing  case,  and  for  an  hour  Mil- 
dred was  unwrapping.  But  in  the  center  of  a 
dozen  boxes,  like  a  Chinese  puzzle,  was  a  flat 
velvet  case  with  the  bracelet. 

In  return,  Mildred  gave  Harold  a  surprise 
stag  party.  Pretending  that  they  were  going 
to  the  theater,  she  had  him  dress  and,  when  he 
descended  to  the  drawing  room,  about  fifty 
men  were  waiting  in  silent  glee.  Mildred 
slipped  away  to  the  theater  with  her  mother 
and  let  the  men  join  in  a  real  celebration  of 
Harold's  birthday. 

The  Lloyds  are  in  New  York  for  a  few  weeks, 
seeing  the  shows  and  buying  clothes,  before 
Harold  starts  his  next  production. 


The  concrete  courtyard  upon  which  this  set  is  built  is  four 
inches  thick  and  covers  an  acre  and  a  half  of  ground, 
said  to  be  the  largest  single  slab  of  cement  work  ever 


By  the  way,  we  have  seen  "Why  Worry?  " — 
the  Harold  Lloyd  comedy  to  follow  "Safety 
Last,"  and  it's  something  new  again.  A  de- 
licious satire  on  South  American  revolutions 
and  heroes  who  whip  whole  armies  single- 
handed. 

PSTHER  RALSTON  is  a  well-known  serial 
■'—'leading  lady,  but  her  two  big  brothers  con- 
sider she  needs  looking  after  just  the  same. 
Esther  has  a  couple  of  very  large  and  very 
husky  brothers,  with  old-fashioned  ideas  about 
young  girls.  And  when  Esther  insisted  on  go- 
ing out  with  a  young  man  whose  wife  objected, 
said  brothers  decided  to  take  matters  into  their 
own  hands. 

They  waited  for  Esther  and  her  suitor — one 
George  Webb  Zrey,  an  actor  and  assistant 
director — on  a  certain  evening.  Mr.  Zrey 
landed  in  the  receiving  hospital  and  both 
brothers  landed  in  jail.  Eventually  everybody 
landed  in  court. 

The  judge  admitted  he  thought  the  Ralston 
brothers  had  been  a  little  over-zealous — they 
say  Mr.  Zrey  will  never  be  quite  the  same 
again — but  he  didn't  blame  them  much,  and 
he  read  pretty  little  Esther  Ralston  a  good 
lecture  from  the  bench  about  doing  what  her 
brothers  told  her  \o. 

"They  know  best  and  you  mustn't  ever  go 
out  with  married  men,"  said  the  judge,  "or 
just  such  things  as  this  will  happen." 

So  Esther  wept  and  promised  to  be  good, 
and  her  brothers  took  her  home. 

TDROBLEM — Find  a  coal  barge  in  California. 
-L  Second  problem — Find  an  actress  in  Hol- 
lywood to  play  Anna  Christie. 

Those  are  the  two  things  that  are  facing 
John  Griffith  Wray,  who  is  to  direct  the  great 
Eugene  O'Neill  play.  Much  of  the  action 
takes  place  on  a  coal  barge  and  it  was  an  awful 
Shock  to  everyone  to  find  there  wasn't  such  a 
thing  the  whole  length  and  breadth  of  the 
Pacific  Coast.  Now  they're  reconstructing  one 
from  another  kind  of  a  boat. 

As  for  the  leading  role  of  A  nna  Christie — it 
seems  interminable,  the  speculation  as  to  who 
is  to  have  the  coveted  plum  At  present  there 
is  much  talk  of  going  to  London  to  film  it  with 


Julanne  Johnston  will  be  the  Arabian  princess  of  Doug's  new  spec- 
tacle, "The  Thief  of  Bagdad."  She  should  make  a  pulchritudinous 
heroine  of  the  Fairbanks  version  of  the  Thousand  and  One  Nights 


69 


Nita  Naldi,  as  Cleopatra  in  "Lawful  Larceny,"  vamping  again.     However,  the 
only  man  in  si"ht  seems  to  be  resisting  her  wiles  in  a  somewhat  stolid  fashion 


"Better,  I  guess,"  said  Dawley,  as  he  bowed 
the  man  out. 

^\\E  of  the  curious  recent  events  in  filmdom 
^-'was  the  hasty  departure  of  Al  Jolson,  the 
stage  comedian,  for  Europe  in  the  midst  of  his 
first  screen  venture,  being  "shot"  at  the  D  W. 
Griffith  Mamaroneck  studios.  Jolson  ap- 
parently decided  suddenly  that  he  wasn't 
destined  for  screen  success. 

Some  time  ago  Jolson  is  said  to  have  ap- 
proached Griffith  with  the  idea  of  presenting 
him  upon  the  screen.  The  comedian  longed 
for  new  fields  to  conquer.  Anthony  Paul  Kelly 
prepared  a  story.  Finally,  there  was  a  verbal 
agreement  between  Griffith  and  Jolson  and  the 
preparations  for  the  making  of  the  first  picture 
were  launched.  It  was  tentatively  called 
"  Black  and  White"  but  was  to  receive  the  final 
title  of  "The  Clown." 

All  of  the  sets  were  built,  so  that  the  produc- 
tion could  be  made  speedily.  The  cast  was 
assembled,  one  member,  Tom  Wilson,  being 
brought  on  from  the  coast.  The  director,  Jack 
Noble,  was  also  summoned  from  California. 
The  cast  was  engaged  for  eight  weeks.  Griffith 
personally  rehearsed  the  picture  for  two  weeks 
and  then  the  first  tests'  of  Jolson  were  made. 
These  were  to  "set"  the  character,  that  of  a 
young  lawyer  who  masquerades  as  a  negro  to 
solve  a  murder,  for  Jolson. 

Jolson  looked  over  these  first  shots  with 
manifest  disappointment. 

"I  thought  all  along  I  was  an  actor,"  he 
sighed.  "Why — I'm  only  a  song  and  dance 
clown." 

Griffith,  on  the  other  hand,  wasn't  disap- 
pointed. He  still  believes  that  the  comedian 
would  have  been  as  successful  in  the  films  as 
behind  the  footlights.  But  Jolson  hastily  de- 
parted for  Europe  the  following  day. 

Jolson,  by  the  way,  is  one  of  the  richest 
actors  in  America.  His  phonograph  record 
royalties  alone  reach  a  large  amount.  It  is  said 
that  his  royalties  for  the  month  of  April 
amounted  to  $120,000. 

BULL  MONTANA'S  naturally  sweet  dispo- 
sition is  becoming  soured  by  his  many 
"mash"  notes.  He  declares  he  receives  more 
proposals  of  marriage  by  mail  than  any  other 
man  in  the  movies.  "But,"  he  complains,  bit- 
terly, "all  these  Janes  want  is  the  bankroll. 
I  know  I  ain't  so  handsome  as  Rudie  Valentino 
and  some  of  the  others,  but  I've  got  a  kind 
heart  and  I'm  easy  to  get  along  with.     I  can 


the  original  cast,  including  Pauline  Lord.  But 
this  seems  impractical.  Blanche  Sweet  is  the 
favorite  selection,  but  it  is  said  she  cannot  get 
free  of  other  contracts  to  play  it.  Alice  Lake, 
Cleo  Madison,  Madge  Bellamy  and  several 
others  have  been  considered. 

IT'  seems  that  it  is  not  necessary  to  know 
history  in  order  to  be  a  picture  actor.  When 
J.  Searle  Dawley  was  seeking  types  to  play 
General  Grant,  Mark  Twain  and  other  not- 
ables of  the  early  eighties  in  "Broadway 
Broke,"  a  tall,  gangling  actor  applied  for  the 
role  of  Augustin  Daly,  the  famous  theatrical 
manager.  Asked  if  he  ever  had  played  Daly, 
he  admitted  that  his  favorite  role  was  Abraham 
Lincoln. 

"But,"  said  Mr.  Dawley,  "the  time  of  this 
pi<  ture  is  in  1881." 

"That's  all  right,''  returned  the  applicant 
cheerfully,  "I  guess  I  can  do  Abe  Lincoln  as 
he  was  in  1881  just  as  well  as  any  other  time." 

Illustrating  the  hard  life  of  moving  pic- 
ture people  in  Summer.  Here  is  Victor 
Seastrom  with  his  "The  Muster  of  Man" 
company  en  location  on  a  hot  day.  Mr. 
Seastrom  is  at  the  right.  The  woman  at 
the  left  is  Elise  Bartlett,  and  next  to  her, 
silting  on  the  platform,  is  Joseph  Schild- 
kraul.  N.  B. — We  must  have  music  with 
our  locations,  even  in  the  water 


70 


Photoplay  Magazine — Advertising  Section 


71 


cAs  wonderful  for  a  quick  brilliant  polish 
as  Cutex  is  for  smooth  cuticle 


For  years  you  have  known  Cutex.  You 
have  blessed  it  a  thousand  times  when 
you  have  been  in  such  a  hurry  and  you 
have  just  bad  to  get  those  neglected  nails 
shapely  and  gleaming.  You  have  adored 
the  little  manicure  sets.  You  have 
marvelled  at  the  magic  of  their  cake  and 
powder  polishes. 

Now,  after  years  of  fastidious  experi- 
ment, Cutex  has  perfected  a  wonderful 
new  Liquid  Polish, 
as  splendid  for  a 
brilliant,  lasting 
polish  as  Cutex  is 
for  giving  soft, 
even  cuticle. 


This  brilliant  new  polish  spreads  smooth 
and  thin  and  gives  a  lasting  rosy  lustre. 
Even  a  lueek's  dishwashing  leaves  it 
gleaming  and  unbroken 


No  separate  remover  is  needed. 
Just  use  a  touch  of  the  polish  itself 
and  -wipe  off  each  nail 


Special  Introductory  Set  that  includes 
the  new  polish — only  12c 

Send  12c  in  stamps  or  coin  with  the  coupon  below 
for  a  special  Introductory  Set  that  contains  trial  sizes 
of  CutexCuticle  Remover,  LiquidandPowder  Polish, 
Cuticle  Cream  (Cuticle  Comfort), emery  board  and 
orange  stick.  Address  Northam  Warren,  114  West 
17th  St.,  New  York,  or  if  you  live  in  Canada, 
Dept.  Q-9,  200  Mountain  St.,  Montreal,  Can. 


Cutex       „ 

Jiquid  Polish, 


In  every  particular,  this  Cutex  Liquid 
Polish  is  ideal.  It  spreads  smooth  and 
thin.  It  dries  almost  instantly  into  such 
a  lovely  gleaming  smoothness.  It  never 
leaves  ridges  or  brush  marks  and  it  would 
never  think  of  cracking  or  peeling  off. 
You  will  be  simply  delighted  with  its 
dainty  rose  lustre  that  lasts  for  a  whole 
week.  No  matter  how  incessantly  you 
use  your  hands,  your  nails  will  keep  their 
smooth  unbroken  brilliance.  Even  water 
does  not  dim  the  lustre. 

No  bother  of  a  separate 
polish  remover 

And  finally  here  is  just  another  new 
convenience.  You  need  never  have  the 
bother  of  a  separate  remover  to  take  off 
the  old  polish.  Just  a  touch  of  the  polish 
itself  wiped  off  while  it  is  still  wet  will 
leave  the  nail  absolutely  free  of  the  old 
polish  and  ready  for  the  new  application. 
Cutex  Liquid  Polish,  just  like  all  the 
other  Cutex  preparations,  is  35c  separately. 
Or  ask  for  the  sets  in  which  it  comes. 
Sets  are  from  60c  to  $3.00. 


MAIL    THIS    COUPON    WITH    12c   TODAY 


Northam  Warren,  Dept.  Q-9 

114  West  17th  St.,  New  York 

I  enclose  12c  in  stamps  or  coin  for  new  Introductory  Set  that 
includes  a  trial  size  of  the  Cutex  Liquid  Polish. 


Name_ 


Street 

(or  P.  O.  Box) 

City 


.State- 


When  you  write  to  advertisers  please  mention  PHOTOPLAT  MAGAZINE. 


Lillian  Gish  as  the  heroine  of  the  late  F. 
Marion  Crawford's  "The  White  Sister," 
which  was  recently  completed  in  Italy  by 
Inspiration  Pictures.  This  scene  was 
"shot"  near  the  Crawford  villa  at  Sorrento 


get  me  a  wife  if  I  want  one  without  hanging 
my  hank  balance  around" my  neck."  So  much 
for  that. 

By  the  way,  Hull  is  squandering  a  portion  of 
his  income  on  a  large  and  very  handsome 
motor  car.  Before  he  got  this,  he  had  a 
"flivver  coop."  When  reprimanded  by  friends 
for  using  so  humble  an  equipage,  he  replied, 
"Listen,  I'm  pretty  lucky  to  be  riding  at  all. 
Why,  in  Xew  York  six  or  seven  years  ago,  car- 
fare was  a  novelty.  One  night  I  was  going  to 
wrestle  in  Brooklyn.  I  laid  down  the  pick  and 
shovel  at  5:30  o'clock,  walked  for  three  hours 
to  get  to  the  match  at  8:30,  and  did  it  without 
dinner  because  I  didn't  have  the  price.  But 
I  got  three  dollars  for  wrestling  and  I  had  a  seat 
in  the  subway  all  to  myself  coming  home.  I'll 
tell  the  world  that  even  a  flivver  beats  that." 

MADAME  ELINOR  GLYN  has  arrived  in 
Hollywood  and  is  busy  at  the  Goldwyn 
studio  preparing  for  the  production  of  her  most 
widely  known  book,  "Three  Weeks."  The 
famous  Englishwoman  is  to  supervise  the  direc- 
tion, casting  and  writing  of  the  story  and  will 
If  prepare  a  screen  version.     Who  is  to 


play  The  Lady  and  who  is  to  play  Paul  is  not 
jet  known. 

It  is  said  that  Madame  Glyn  herself  favors 
Theda  Bara.  There  is  also  some  chance  that 
Aileen  Pringle,  a  newcomer  to  the  screen,  may 
play  the  lead.  As  for  Paul — Madame  Glyn 
saw  a  young  Englishman  in  Chicago  whom  she 
thinks  would  be  perfect.  But  she  only  saw 
him  through  the  car  window  and  she, doesn't 
know  who  he  is  or  anything  like  that,  so  it's  a 
little  hard  to  cast  him  for  the  role. 

"\7I0LA  DANA  has  laid  herself  open  to  the 
v  charge  of  nepotism  in  having  her  sister, 
Edna  Flugrath,  as  a  member  of  the  cast  in 
"The  Social  Code."  Miss  Flugrath,  who  is  the 
wife  of  Harold  Shaw,  her  director,  has  been 
making  pictures  in  England,  and  came  back 
to  see  her  mother,  who  was  ill.  Miss  Dana  and 
her  director,  Oscar  Apfel,  at  once  drafted  the 
sister.  Edna  and  Viola  had  not  seen  each 
other  for  ten  years  and  soon  grew  reminiscent. 
"We  used  to  have  terrible  scraps  when  we 
were  children,"  said  Viola.  "I  remember  one 
awful  battle.  I  hated  limburger  cheese  and 
Edna  loved  it.  One  day  she  stuffed  a  lot  into 
my  mouth  and  it  made  me  sick.  She  never 
expressed  any  regret  until  about  a  year  ago, 
when  I  was  ill  with  pneumonia.  Then,  one 
day,  she  said  to  mother:  'Oh,  Mother,  suppose 
Vi  should  die!  And  I  never  told  her  I  was 
sorry  about  the  cheese!'  " 

IF  YOU  were  a  director  and  had  been  up  in 
the  snows  and  the  silences  of  Canada  for 
many  months;  if  you'd  shot  thousands  of  feet 
of  film,  mostly  of  dogs  and  wolves  and  magnifi- 
cent dramatic  events  in  their  lives;  if  you 
hadn't  ever  seen  a  foot  of  all  the  stuff  you'd 
spent  months  of  time  and  pounds  of  energy  on; 
and  then  if  you  sat  all  day  and  most  all  night 
in  the  projection  room  and  ran  it;  and  it  was 
positively  wonderful  and  all  your  critics  and 
friends  and  business  associates  wept  with  joy — 
wouldn't  you  be  happy? 

That's  what  happened  to  Laurence  Trimble, 
who  just  returned  from  the  Canadian  Rockies 
with  the  exterior  sequences  for  two  new 
"Strongheart"  pictures — "The Phantom  Pack" 
and  "White  Fang." 

[  CONTINUED  ON  PAGE  82  ] 

Mr.  Gallagher  and  Mr.  Shean,  the  famous 
comedians  of  the  Ziegfeld  "Follies,"  eider 
the  Fox  studios  in  New  York  for  their 
first  screen  work.  Do  they  think  they  will 
be  successful  in  films?  Positively,  Mr. 
Gallagher.     Absolutely,  Mr.  Shean 


% 


Photoplay  Magazine — Advertising  Section 


73 


(VERY  YOUNG  WIFE  MUST  MAKE 

THIS  DECISION 


What  will  her  face  be  in  one- 
in  fire -in  ten  years'  time? 

^^JEW  surroundings — new  responsibilities — new  adjustments 
■^  '  to  life.  And  with  all  these  a  new  loveliness  in  her  face. 
Yet  in  a  few  years  it  has  gone!  What  has  become  of  it? 

Should  she  have  trusted  this  loveliness  to  keep  on  renewing 
itself  through  the  strain  of  her  new  responsibilities?  Did  she 
allow  the  soft  brilliance  of  her  clear  skin  to  grow  dull — its 
smoothness  to  be  marred  by  little  roughnesses?  So  many  girls 
lose  this  young  freshness  in  the  first  few  years  of  marriage. 

But  today  they  know  that  this  loveliness  must  be  guarded, 
that  it  will  be  lost  unless  the  right  care  be  given. 

Many  a  wife  has  learned  that  she  can  keep  her  skin  supple 
and  lovely  by  giving  it  regularly  the  two  fundamental  things 
it  needs  to  keep  it  young  —  a  perfect  cleansing  at  night  and  a 
delicate  freshening  and  protection  for  the  day.  And  she  has 
learned  that  the  Pond's  Method  of  two  creams  based  on  these 
two  essentials  of  her  skin,  brings  more  wonderful  results  than 
any  other. 

Two  Creams — each  different — each  marvelous 
in  its  effect  on  her  skin 

Two  Creams  she  would  not  give  up  for  any  others  in  the 
world!  First  the  exquisite  cleansing  of  Pond's  Cold  Cream 
that  leaves  her  skin  so  delightfully  fresh,  so  luxuriously  soft. 
Then  the  instant  freshening  she  adores  with  Pond's  Vanishing 
Cream  and  its  careful  protection  that  she  has  learned  prevents 
coarsening.  These  two  creams  keep  for  her  the  smoothness  of 
texture  and  that  particular  fresh  transparency  that  she  wants  to 
be  her  charm  ten  years  from  now  as  it  is  today. 

DECIDE  TO  USE  THIS  FAMOUS  METHOD 
Keep  your  skin  charmingly  young — for  years 

Do  this  tonight.  With  the  finger  tips  apply  Pond's  Cold 
Cream  freely.  The  very  fine  oil  in  it  softens  your  skin  and 
penetrates  every  pore.  Let  it  stay  on  a  minute — now  wipe  it 
off  with  a  soft  cloth.  The  black  that  comes  off  shows  you 
how  carefully  this  cream  cleanses.  Do  this  twice.  Your  skin 
looks  fresh  and  is  beautifully  supple. 

Then  in  the  morning,  smooth  on  Pond's  Vanishing  Cream 
lightly  over  your  whole  face.  Now  if  you  wish,  rouge — 
powder.  How  smooth  and  velvety  your  face  feels  to  your 
hand.  The  appearance  of  your  skin  and  the  compliments  of 
your  friends  for  as  long  as  you  use  these  Two  Creams  will  prove 
to  you  how  wonderful  they  keep  your  skin.  Begin  tonight  to 
use  Pond's  Two  Creams  regularly — buy  both  creams  in  any 
drug  or  department  store.     The  Pond's  Extract  Company. 


Every  skin  needs  these 
Two  Creams — Pond's 
Cold  Cream  for 
cleansing,  Pond's  Van- 
ishing Cream  to  pro- 
tect and  to  hold  the 
powder 


GENEROUS  TUBES— MAIL  COUPON  WITH  10c  TODAY 

The  Pond's  Extract  Co.,      159  Hudson  St.,  New  York 

Ten  cents  (10c)  is  enclosed  for  your  special  introductory  tubes  of  the  two 
creams  every  normal  skin  needs — enough  of  each  cream  for  two  weeks'  ordinary 
toilet  uses. 


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HUSBANDS-  by  Their  Wiv 


es 


The 
Husbands 


5TRANGE  as  it  may  seem  to  constant  readers  of  the  yellow  press,  there  are  still 
many  actresses,  both  of  the  screen  and  stage,  who  are  married  to  men  in  the  same 
profession,  who  live  with  their  husbands  and  who  arc  happy  and  contented.  Some 
of  them  really  are  proud  of  their  husbands.  Stories  about  such  couples  are  seldom  if 
ever  published  because,  so  far  as  the  "yellows"  are  concerned,  there  is  no  interest 
without  scandal.  But  they  do  exist,  as  the  views  presented  here  prove.  These 
opinions  are  from   wives  who  not  only  love,  but  also  up  predate  their  husbands. 


MRS.  ROBERT  LEONARD 

WHAT  do  I  think  of  my  husband?  That's  a  funny  question.  A  husband  is  not  to 
think  about.  You  must  love  and  accept  and  admire  him;  but  few  husbands  will 
stand  thinking  about.  Well,  mine  is  an  excellent  balance  wheel  for  me,  because  he  has 
steady  judgment  and  is  not  swayed  by  his  emotions.  He  is  a  delightful  companion,  a  good 
dancer  and  a  devoted  escort.  He  is  an  intellectual  companion  of  merit,  because  he  is 
clear-visioned  and  logical.  He  is  a  fine  business  partner,  because  he  never  brings  business 
out  of  the  studio.  lie  pays  beautiful  compliments,  he  has  a  fine  sense  of  humor,  and  he 
isn't  often  cross  when  it  takes  me  an  hour  to  dress.  He  has  a  violent  temper,  but  that  is 
an  essential  in  a  strong  man,  and  he  is  strong.    I  guess  that's  why  I  love  him. 

Mae  Murray 


MRS.  DOUGLAS  FAIRBANKS 

A  K  V  great  regret  is  that  I  didn't  meet  my  husband  sooner.  To  me  he  is  the  finest,  most 
■'■"•'•helpful  and  biggest  man  in  the  world.  He  is  a  great  artist,  and  the  artist  fire  is  always 
alight.  He  has  a  great  power  of  decision  and  his  judgment  is  sound.  He  always  knows 
what  he  wants  to  do  and  what  is  right  for  him  to  do.  He  is  essentially  a  crusader,  abhorring 
evil  in  all  forms.  He  has  the  strongest  personality  of  anyone  I  know.  His  fine  and  power- 
ful mind  is  always  appreciated  and  admired  by  the  great  intellects  with  whom  he  comes  in 
contact.  He  is  completely  fearless,  and  he  is  clean  in  thought  and  deed.  He  is  my  ideal 
American  and  I  know  he  is  the  worthy  ideal  of  many  others.  I  am  inordinately  proud  of 
him,  and  also  proud  of  myself  for  that  I  am  his  wife. 

Mary  Pickford 


Their 
Wives 


MRS.  REX  INGRAM 

"NJOWADAYS,  the  wife  who  admits  that  she  thinks  about  her  husband  is  pitied  by 
*-^many  of  her  women  friends.  But  I  think,  even  after  two  years  of  marriage,  that 
husbands  should  be  taken  seriously — so  long  as  they  do  not  suspect  it.  So  I  am  content, 
when  leaving  the  studio,  to  lock  Alice  Terry  in  the  dressing  room  and  become  Mrs.  Rex 
Ingram.  My  husband  also  is  fond  of  a  dual  role.  He  does  not  object,  when  the  cook  fails 
us,  to  scrambling  eggs  while  I  prepare  coffee.  He  is  still  the  best-looking  thing  I  have 
ever  seen.  He  is  Irish — and  proud  of  it.  He  remembers  birthdays  and  anniversaries.  He 
is  never  too  much  the  director  to  forget  the  husband,  nor  too  much  the  husband  to  let 
it  interfere.    And,  just  between  us,  T'm  very  fond  of  him. 

Alice  Terry 


MRS.  THOMAS  MEIGHAN 

A  AY  husband  is  a  Peter  Pan.  He  never  has  grown  up.  Of  course,  he  stands  six  feet  in 
*VA.hjs  socks,  but  he  is  just  a  kid.  Everything,  except  his  work,  he  sees  with  the  eyes  of  a 
boy,  so  both  he  and  I  get  a  lot  of  fun  out  of  life.  I  have  not  found  life  as  the  wife  of  a 
screen  star  very  harrowing.  Perhaps  it  is  because  I'm  not  jealous.  I  like  other  women  to 
like  my  husband  and  to  write  to  him.  He  is  worthy  of  being  admired.  We  like  the  same 
life  and  the  same  people.  We  are  even  fond  of  each  other's  "in-laws."  I  have  given 
up  my  stage  career,  but  my  husband's  is  so  interesting  that  I  feel  a  part  of  it.  I  read  the 
stories  submitted  to  him,  talk  over  plots  and  roles  and,  when  possible,  go  on  location 
with  him.     The  whole  secret  is  this:  absence  of  jealousy,  and  being  pals. 


Frances  Ring 


MRS.  JOSEPH  M.  SCHENCK 

1"  AM  a  fortunate  wife — happy  and  contented.  I  know  my  husband  as  the  world  does  not 
■*■  know  him.  He  has  submerged  himself  to  advance  me,  and  his  sacrifices  endear  him  to 
me.  For  an  actress  to  have  a  husband  who  is  her  confidant  as  well  as  business  and  artistic 
adviser,  is  unusual.  My  husband  is  a  shrewd  business  man,  but  there  never  is  a  business 
matter  so  important  as  to  prevent  him  from  helping  a  friend.  I  have  found  that,  in  matters 
pertaining  to  my  pictures,  my  close  interest  destroys  my  perspective.  I  always  leave  the 
choice  to  my  husband,  and  I  consider  him  almost  infallible.  His  predictions  always  come 
true,  and  we  women  are  superstitious.  His  great  ambition  seems  to  be  to  please  me.  What 
woman  would  not  appreciate  such  a  husband? 

Norma  Talmadge 


7h 


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Autographic  Kodaks  $6.50  up 


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MRS.  RICHARD  R ARTHELMESS 

I  LOVED  my  husband  first  for  his  dominant  trait — the  clean,  line  thought  shown  in  his 
i  lean,  line  manner  of  living.  He  seemed  to  me  to  be  an  exemplar  of  the  day  when  men 
will  be  as  dean  and  fine  as  they  expect  the  women  they  marry  to  be.  My  husband  is 
fifty-lift  v  all  the  time.  What  is  fair  for  him,  is  fair  for  me.  I  admire  my  husband'-  reserve, 
his  natural  dignity,  his  seriousness.  He  is  so  serious — and  so  funny — when  he  tries  to 
handle  Mary  I  lax  Barthelmess,  Jr.  He  is  as  earnest  and  conscientious  in  this  as  when 
doing  a  picture.  He  made  a  careful  study  of  practically  every  theory  about  the  care  of 
bailie-,  but  1  think  he  has  dropped  most  of  them  as  untenable.  1  must  admit  that  he  has 
'"moods,"  but  they  constitute  a  very  small  fly  in  a  very  large  pot  of  ointment. 

Mary  Hay 


MRS.  ALFRED  LUNT 

XFELL  in  love  with  my  .husband's  voice  and  I'm  still  in  love  with  it.  But  that  is  only 
one  of  his  many  merits.  Perhaps  his  dominant  trait  is  his  simplicity.  That  helps  to 
make  him  the  truly  great  actor  that  he  is.  His  sympathy  is  intense.  He  refused  to  stay 
in  a  projection  room  and  watch  my  work  in  a  picture  because,  he  said,  my  eyes  showed 
such  fright  that  he  couldn't  stand  it.  If  I  were  to  change  him  in  any  way — and  I  wouldn't 
— I'd  give  him  a  touch  of  the  critical  faculty.  He  has  all  the  trustfulness  of  a  child.  He 
does  not  censure.  He  never  spoke  an  unkind  word  of  anyone.  All  his  geese  are  swans. 
Why,  he  never  even  reads  a  contract  before  signing  it  and  I  think  that's  a  test  of  trust- 
fulness.   He  is  Alfred  Lunt  only  on  the  stage.    At  home  he's  Bill,  with  all  that  implies. 


Lynn  Fontanne 


MRS.  JAMES  RENNIE 

X  THINK  Jim  Rennie  is  marvelous.  Of  course,  I  would.  First  of  all,  he  is  the  most 
tolerant  man  I  know.  And  the  fact  that,  when  he  married  me,  we  shared  a  hotel 
apartment  with  my  mother  and  sister  proves  that,  but  there  have  been  no  regrets.  Just 
think  about  tolerance.  It  includes  patience,  sympathy,  love  of  humanity.  James 
Rennie  has  all  those — and  a  delightful  sense  of  humor.  He  never  nags,  and  he  is  such  a 
good  husband  that  I  can't  nag  him.  He  isn't  perfect  by  any  means.  He  is  never  punctual. 
He  isn't  athletic,  although  he  looks  to  be.  He  studies  his  roles  conscientiously,  but  in 
the  intervals  between  playing  he  doesn't  wrap  his  head  in  an  iced  towel  as  I  want  him  to 
do.     He  has  infinite  talent  and  he's  fond  of  me.     As  I  remarked  before,  he's  marvelous. 

Dorothy  Gish 


MRS.  WHEELER  OAKMAN 

I  LIKE  my  husband  because  he's  a  sweet  old  thing.  That's  my  pet  reason,  but  not  my 
only  one.  He  is  the  most  positive  person  I  ever  knew,  and  that  suits  me.  I  hate  wishy- 
washy  people  who  never  know  their  own  minds.  I  like  people  that  are  certain  about  their 
likes  and  dislikes,  their  opinions  and  preferences.  You  know  where  you  stand  with  them. 
I  guess  I'm  about  as  positive  as  he  is,  and  I  won't  deny  that  we  have  some  spats.  We  have 
even  had  an  occasional  battle,  same  as  most  married  couples.  But  there's  never  been  any 
misunderstanding  about  them.  I  think  my  husband  has  more  sound  sense  and  ability  to 
enjoy  himself  and  life  than  anyone  I  know.  He  gets  the  most  out  of  everything,  and  lives 
to  the  full  all  the  time.    And  I  know  enough  other  men  to  know  how  wonderful  that  is. 


Priscilla  Dean 


MRS.  FRED  NIRLO 

IKXOW  two  Fred  Xiblos.  One  is  the  director  on  the  set,  with  a  fortune  at  stake  and 
the  responsibility  for  a  great  production  on  his  shoulders.  The  other  is  the  fireside  Fred 
Niblo,  with  weary  hours  behind  him,  and  none  of  the  barriers  and  customs  that  aid  in 
keeping  a  man  courteous  through  the  day.  The  two  match  up  remarkably  well.  Keeping 
a  director  waiting  on  the  set  and  keeping  a  husband  waiting  for  breakfast  are  two  un- 
forgivable offences.  But  I  have  kept  Director  Niblo  waiting  and  I've  kept  Husband  Niblo 
waiting,  and  I've  never  been  able  to  annoy  him  out  of  his  inherent  kindness  and  courtesy. 
He  is  the  kindest  man  I  ever  knew.  His  heart  is  filled  with  charity  and  a  splendid  appreci- 
ation of  the  fine  things  of  life.    He  is  an  ideal  husband  and  an  ideal  director. 

Enid  Bennett 


MRS.  ROCKCLIFFE  FELLOWES 

WE  have  been  married  twenty  years,  and  I  still  think  my  husband  is  the  handsomest, 
cleverest  and  most  charming  man  I  know.  I  think  that's  love.  Also,  there  never  was 
a  man  so  patient.  I  sometimes  think  he  has  cornered  the  world's  stock  of  patience.  He 
is  a  natural  teacher,  and  has  helped  me  far  more  than  I  ever  have  helped  him.  He  is 
fascinating — but  he  has  one  distracting  fault.  That  is  his  love  of  disorder  in  his  home.  At 
our  home  in  New  Rochelle  he  has  one  room  of  his  own  in  which  he  may  be  as  disorderly  as 
he  likes.  So  far  as  the  rest  of  the  house  is  concerned,  he  believes  that  orderliness  with  me 
is  a  vice.  But  it's  perfectly  silly  for  me  to  try  to  tell  why  I  love  him  and  why  I  think  he's 
so  wonderful.    I  just  do— that's  all. 

Lucile  Watson 


Photoplay  Magazine — Advertising  Section 


He  seized  her 
hands,  and. . . 

THEY  had  been  boy  and  girl 
sweethearts — and  he  had  gone 
away,  promising  to  come  back  when 
he  had  "made  good."  With  tear- 
dimmed  eyes  she  had  said  she  would 
wait  for  him. 

At  last  he  did  come  back,  thinking 
of  her  as  the  same  sweet  slip  of  a  girl. 

But  the  beauty  of  a  girl  is  apt  to 
fade.  She  too  often  forgets  to  care  for 
her  complexion,  and  soon  loses  youth's 
delicate  bloom.  He  wondered  how 
roughly  time  might  have  dealt  with 
his  little  sweetheart  of  long  ago.  Then 
he  saw  her.  He  could  scarcely  believe 
his  eyes!  The  sweet  face  was  a  bit 
wistful — but  oh,  so  lovely !  The  creamy 
skin  was  quite  unlined,  the  delicate 
wild  rose  flush  held  the  same  allure. 

He  stood  there  spellbound  for  a 
moment,  seized  her  hands,  and — 


Then  he  saw  her. 


"Don't  Envy  Beauty — Use  Pompeian' 


To  accentuate  your  own  coloring  or 
add  a  delicate  charm  you  may  never 
before  have  possessed  —  use  the 
Pompeian  Beauty  Quartet. 

The  Day  Cream  is  a  vanishing 
cream  that  softens  the  skin  and  pre- 
pares it  for  the  rouge  and  powder. 
This  cream  really  disappears  and  there 
remains  but  a  barely  perceptible  coat- 
ing, a  protection  against  sun,  wind, 
and  dust. 

The  Beauty  Powder  is  soft  and 
smooth  and  of  the  finest  possible  tex- 
ture. It  goes  on  evenly  and  adheres  so 
well  that  there  is  no  reason  to  worry 
about  glistening  nose  and  cheek  bones. 

Pompeian  Bloom  is  a  rouge  that  is 
absolutely  harmless  and  will  neither 
crack  nor  crumble.  You  can  match 
your  complexion  perfecfy,  for  Pom- 
peian Bloom  comes  in  all  desired 
shades:  Dark,  Medium,  and  Light 
Rose,  and  Orange  Tint. 

If  you  use  these  Pompeian  prepara- 
tions together  for  Instant  Beauty,  you 
will  obtain  the  most  natural  effect,  for 
great  care  has  been  taken  that  the 
colors  blend  naturally. 

Remember:  Day  Cream  first,  next 
the  Beauty  Powder,  then  a  touch   of 


Bloom,   and   over   all,    another  light 
coating  of  the  Powder. 

Pompeian   Lip   Stick   is   of  a   rose 
petal    shade    and    adds   yet    another 
touch  that  will  set  off  your  beauty. 
Pompeian  Day  Cream  (vanishing) 

6oc  per  jar 
Pompeian  Beauty  Powder  doc  per  box 
Pompeian  Bloom  (the  rouge)    6oc  per  box 

Pompeian  Lip  Stick.  25c  each 

Pompeian  Fracrance  25c  a  can 

Pompeian  Night  Cream  (New  style  jar) 
60c  per  jar 

The  MARY  PICKFORD  Panel 

and  four  Pompeian  samples  sent 
to  you  for  10  cents 
Mary     Pickford,    the    world's    most    adored 
woman,  has  again  honored  Pompeian  Beauty 
Preparations  by  granting  the  exclusive  use  of 
her  portrait  for  thenew  1923  Pompeian  Beauty 
Panel.  The  beauty  and  charm  of  Miss  Pickford 
are  faithfully  portrayed  in  the  dainty  colors  of 
this  panel.   Size  28  x  7^  inches. 
For  10  cents  zve  will  send  you  all  of  these: 

1.  The  1923  Mary  Pickford  Pompeian  Beauty 
Panel  as  described  above.  (Would  cost  from 
50c  to  75c  in  an  art  store.) 

2.  Sample  of  Pompeian  Day  Cream  (vanishing). 

3.  Sample  of  Pompeian  Beauty  Powder. 

4.  Sample  of  Pompeian  Bloom   (rouge) 

5.  Sample  of  Pompeian  Night  Cream. 
Please  tear  of  coupon  now. 


Pompeian   Laboratories,     2131  Payne   Avenue,   Cleveland,   Ohio 

Alio  Mad*  in  Canada 


^dau  Cream.  ^BeaujUj  rbivder  ■olnom 


77 

Tour  Skin  J^Qeeds 
Special  fare  in  thezAutumn 

By  Mme.  Jeannette 

As  a  rule  a  woman  is  in  her  best  health 
with  the  beginning  of  the  autumn. 

But  how  about  her  skin? 

Frequently  she  is  aware  that  she 
has  been  negligent  in  her  care  of  it 
during  the  lazy  months  of  summer. 

1  have  said  it  before,  and  I  will  con- 
tinue to  say,  "Consistency  is  the  virtue 
in  caring  for  your  skin."  You  are 
nourishing  its  tissues;  and  it  is  very 
like  your  body — you  can't  eat  a  sur- 
feit of  good  food  for  a  week  and  then 
forget  to  eat  for  the  week  that  follows! 
Yet  you  do  this  when  you  use  com- 
plexion creams  only  part  of  the  time. 

lAt  J^Cjght — 

Soap  and  water  is  the  habitual  way  of 
most  women  in  cleansing  the  skin;  but 
Pompeian  Night  Cream  is,  in  many  cases, 
more  thoroughly  cleansing. 

Pompeian  Night  Cream  may  be  used  as 
lavishly  as  the  individual  user  desires; 
there  is  no  such  thing  as  using  too  much, 
but  enough  should  be  used  to  cover  every 
part  and  feature  of  the  face,  as  well  as  the 
neck  and  the  arms,  if  they  too  would  be 
kept  in  beautiful  condition. 

I  do  not  advise  too  much  rubbing  and 
massaging — just  enough  to  thoroughly 
distribute  the  cream.  When  you  remove 
it  with  a  soft  cloth,  all  dirt  and  dinginess 
is  also  removed,  leaving  your  skin  soft 
and  smooth  and  lovely  to  the  touch. 

In  the  zJXCorning — 
In  the  morning  you  will  find  that  the 
night  treatment  has  prepared  your  skin 
to  gratefully  accept  an  application  of 
Pompeian  Day  Cream.  This  is  a  founda- 
tion cream  for  the  day's  powder  and  rouge, 
and  it  is  a  protection  to  the  skin  as  well. 

Then  the  'Powder — 
If  the  autumn  finds  the  skin  still  some- 
what darker  than  usual,  you  should  use  a 
darker  tint  of  powder  than  you  custom- 
arily do.  Pompeian  Beauty  Powder  in  the 
Rachel  tint  may  be  used  on  naturally  fair 
complexions  until  care  has  restored  their 
own  delicate  pinks  and  white  tones,  when 
one  may  again  use  the  White  or  Flesh 
shades. 

Cover  the  face  and  neck  well  with  the 
powder,  and  then  dust  it  off  lightly  and 
evenly,  moistening  the  eyebrows,  eye- 
lashes, and  lips  to  remove  any  traces  of 
powder  from  them. 

/^UuJL.^O(M^£ttl 

Specialiste  en  Beauti 
TEAR  OFF,   SIGN,   AND   SEND 


POMPEIAN  LABORATORIES 

2131   Payne  Avenue,  Cleveland,  Ohio 

Gentlemen:  I  enclose  roc  (a  dime  preferred)  for 
1923  Art  Panel  of  Mary  Pickford,  and  the  four 
samples  named  in  offer. 

Name 


Addres 
City— 


e  l""3.  The  Pompeian  Co 


Whit  shade  face  powder  wanted? 


When  you  write  to  advertisers  please  mention  PIIOTorLAY  MAGAZINE. 


Marilynn  Miller  wants  to 
go  into  pich/res  with  her 
husband,  Jack  Pickford, 
but  Flo  Ziegfeld  says,  "Not 
yet."  So  the  best  they  can 
do  is  pose  together  on  their 
garden  wall  at  Hollywood 


And  here  is  the  Pickford 
home  at  Hollywood. 
Neither  Jack  nor  Mari- 
lynn likes  to  be  bothered 
with  a  lot  of  stairs. 
Jack  is  apparently  in- 
viting Marilynn  to  go 
for  a  drive 


78 


My  wife  asked  me  to  do  this 


J\fow  I  offer  you  a  new  delight— an  olive  oil  shampoo 

By  V.  K.  CASSADY,  B.  S.,  M.  S.,  Chief  Chemist 


My  wife  told  me  she  wished 
someone  would  invent  a 
shampoo  that  would  not 
leave  hair  dry  and  brittle.  She 
said  all  women  wanted  it.  And 
asked  me  to  try  my  hand — I  am 
chief  chemist  at  Palmolive. 

Now  I  have  one — Olive  Oil — as 
advised  by  world  authorities  on 
hair  beauty. 

I  should  esteem  it  a  favor  for 
you  to  test  it.  And  then  to  give 
me  your  opinion. 

A  more  gentle  way 

I  found  that  most  shampoos  were 
too  harsh ;  that  while  they  cleaned 
they  took  the  life  and  lustre  from 
the  hair.     Scores  of  women  told 


me  this.  And,  too,  famous 
specialists  of  the  scalp.  So  I 
set  out  to  perfect  a  thorough 
cleanser,  yet  one  mild  and  gentle, 
which  would  leave  that  dainty 
sheen  which  adds  so  toone'scharm. 

A  scientific  creation 

Thousands  of  women,  many 
famous  beauties,  have  written 
me  already.  They  say  results 
are  a  revelation. 

Your  hair  clean. 

The  scalp  tingling — dandruff-free 
and  healthy. 

Yet — gleamingly,  gloriously  alive 
immediately  after  a  shampoo! 

I  think  you  will  thank  me  for  offer- 
ing this  scientific  way  to  you. 


fofc. 


i» 


9k 


hmm 


PALMOLIVE 

SHAMPOO 


Copyright  1923-Th«  P»Imulive  Co.    1896 


remove  seal  wrm 

DAMP  CLOTH         .^Tf' 


Look  for  this  Gold  Seal 

There  is  only  one  guaranteed  Congo- 
leum  and  that  is  Gold-Seal  Congoleum 
identified  by  this  Gold  Seal.  The  (Jold 
Seal  is  pasted  on  the  face  of  every 
genuine  Gold-Seal  Congoleum  Rug. 

Congoleum  Company 

INCORPORATED 

Philadelphia     New  York     Boston     Chicago     San  PVancisco 

Kansas  City      Dallas      Minneapolis      Atlanta      Pittsburgh 

Montreal       London        Paris       Rio  de  Janeiro 


Pattern  No.  530 


Pattern  No.  516 


It's  not  so  many  years  ago  that  she  was  young! 
But  in  those  days  floors  were  covered  with  heavy, 
dusty,  unsanitary  carpets.  Now  modern  housewives 
are  replacing  these  old-fashioned  floor-coverings 
with    dirt-free,    sanitary    s«i    Congoleum   Art-Rugs. 

Gold-Seal  Congoleum  Art-Rugs  are  easy  to  clean; 
whisk  a  damp  mop  over  their  smooth,  waterproof 
surface,  and  they're  spotless.  Easy  to  lay,  too;  need 
no  fastening  whatever  for  they  never  curl  up  at  the 
edges  or  corners.  And  though  their  patterns  are 
as  beautiful  as  those  of  expensive  woven  rugs,  they 
cost  much  less.     Note  the  very  low  prices. 

\y2  x  3  ft.  $  .60 
3  x3  ft.  1.40 
3  x4#ft.  1.9S 
3     x6     ft.   2.50 


6  X  9  ft.  $  9.00  The  rugs  illustrated 
llA  X  9  ft  1 1  25  are  ma''e  only  in  the 
9       X     9       ft!      13.S0  Eve  large  sizes.    The 

9ir\r/  c        i  r  *?r  small  rugs  are  made 

"  \/2  fc      \lnn  '»  ^designs    to 

7  X  u        it.     18. UU  harmonize  with  them. 


Owing  to  freight  rates,  prices  in  the  South    and  west  of  the 
Mississippi  are  higher  than  those  quoted. 


Gold  Seal 


(3ngoleum 


^ 


^4rt-Rugs 


^ 


QUESTIONS    A?<D    ANSWERS 


Blonde,  Seattle,  Wash. — Glad  you  think 
I  am  "good-hearted."  Yes,  Conway  Tearle's 
beauty  is  of  a  dark,  mysterious  sort  that 
kindles  the  admiration  of  women.  Since  Lord 
Byron  wrote  the  greatest  of  love  poems, 
"Maid  of  Athens,"  the  dark,  brooding-eyed, 
half-melancholy,  curls-possessing  type  has  been 
at  a  premium  in  the  market  of  hearts.  It  is  a 
"romantic"  type  and  to  be  "romantic"  is  to 
find  favor  with  women.  Eh,  Miss  Blonde? 
Yes,  Mr.  Tearle  is  married.  To  a  disease, 
otherwise  the  interpretive  singer  and  dancer, 
Adele  Rowland.  It  was  Miss  Rowland  who 
sang  "Pack  up  your  troubles  in  your  old  kit 
bag  and  smile,  smile,  smile,"  into  fame.  Mr. 
Tearle,  despite  his  matrimonial  state,  answers 
letters.  No  doubt  he  will  answer  yours  if  you 
write  him  care  Norma  Talmadge  Productions, 
United  Studios,  Los  Angeles,  Calif.  He  is  ap- 
pearing with  Miss  Talmadge  in  "Purple 
Pride." 

I).  S.,  Grant  City,  N.  Y. — Yes,  I  wish  you 
luck  if  you  must  find  a  job  as  an  extra.  Why 
not  learn  how  to  cook  and  sew?  They  are 
heart  snares,  both,  for  the  manfish  swimming 
warily  about  the  edge  of  the  sea  of  matrimony. 
No  use  advising.  You'll  do  as  you  like.  All 
women  do.  You  are  the  do-as-you-like  sex. 
Ramon  Novarro's  picture  and  an  article  about 
him  appeared  in  the  April  number  of  Photo- 
play Magazine. 

A.  L.  C,  Tuscaloosa,  Ala. — Publish  my 
picture  in  Photoplay  Magazine?  Eve's 
daughters  were  ever  curious.  I  would  prefer 
that  you  keep  your  illusions,  my  dear  Miss  A. 
What  if  I  had  a  wart  on  my  nose?  I  haven't. 
But  what  if  I  had?  Would  your  graciousness 
survive?  Yes,  Mary,  Lottie  and  Jack  Pickford 
are  kin  indeed.  They  are  sisters  and  brother. 
Yes,  Lillian  and  Dorothy  Gish  use  their  own 
names.  Gish  is  the  family  name  and  their 
Christian  names  have  not  been  changed  for 
professional  purposes.  The  lovely  Lillian  told 
me  so  herself.  She  said:  "In  the  early  days  we 
thought  the  names  were  not  romantic  enough 
for  the  screen.  But  Mr.  Griffith  told  mother 
ours  were  unusual  names.  So  we  have  kept 
them."    If  you  write  in  the  usual  way  to  Miss 


V/OU  do  not  have  to  be  a  subscriber  to 
1  Photoplay  Magazine  to  get  questions 
answered  in  this  Department.  It  is  only 
required  that  you  avoid  questions  that 
would  call  for  unduly  long  answers,  such  as 
synopses  of  plays,  or  casts  of  more  than  one 
play.  Do  not  ask  questions  touching  reli- 
gion, scenario  writing  or  studio  employment. 
Studio  addresses  will  not  be  given  in  this 
Department ,  because  a  complete  list  of  them 
is  printed  elsewhere  in  the  magazine  each 
month.  Write  on  only  one  side  of  the  paper. 
Sign  your  full  name  and  address;  only  ini- 
tials will  be  published  if  requested.  If  you 
desire  a  personal  reply, enclose  self-addressed 
stamped  envelope.  Write  to  Questions  and 
Answers.  Photoplay  Magazine.  221  W.  57th 
St.,  New  York  City. 


Dorothy  Gish,  Inspiration  Pictures,  565  Fifth 
Avenue,  I  am  sure  she  will  comply  with  your 
request.  Tom  Mix  will  doubtless  oblige  if  you 
write  him  care  Fox  Studios,  1401  North 
Western  Avenue,  Hollywood,  Calif. 

P.  D.,  West  Graham,  Va  —  What  a  star- 
tling question !  It  would  startle  no  one  quite  so 
much  as  Mary  Pkkford's  charming  self. 
Indeed,  no.  No  doubt,  when  the  first  shock  of 
surprise  had  passed,  Miss  Pickford  would  turn 
on  her  dimples,  jmile,  and  answer  as  did  Mark 
Twain.  "The  rumor  of  my  death  is  greatly 
exaggerated."  Pola  Negri  is  not  married. 
Her  age  is  the  fascinating  one  of  thirty.  Balzac, 
you  know,  that  profound  student  of  the  heart 
of  woman,  wrote  a  novel  to  which  he  gave  the 
name  "A  Woman  of  Thirty."  If  I  were 
pressed  to  the  wall,  a  pistol  at  my  noble  temple, 
//  /./  a  Tom  Mix  thriller,  I  would  gasp  the  truth: 
"Thirty  is  the  most  interesting  age  of  woman." 
Even  though  Kitty  Gordon,  now  an  authority 
on  beauty,  says  that  a  woman's  most  interest- 
ing age  is  forty. 

L.  F.  G.,  Pennington,  Pa.  —  Margaret 
Landis  is  a  sister  of  Cullen.  Her  stage  debut 
occurred  with  Mary  Pickford  in  "Amarillo  of 
Clothesline  Alley."  She  has  appeared  in  "Rose 
of  the  Sea,"  "The  Sadder  Jinx,"  "The  Miracle 


Baby."    In  the  last  she  was  leading  woman  for 
Harry  Carey. 

Fiddlesticks,  Washington,  D.  C.  —  You 
ask  whether  I  do  not  think  that  Forrest  Stanley 
has  lovely  hair.  Miss  Fiddlesticks,  if  I  am  the 
lonely  bachelor  your  sympathy  pictures  me, 
why  scourge  me  with  the  whip  of  envy?  Well, 
yes,  if  I  must,  I  admit  that  he  is  a  not  unpleas- 
ing  object,  as  men  go.  Have  your  own  way,  as 
girls  will.  The  subject  of  our  spat — I  mean 
discussion — is  twenty-nine  years  old.  His 
address  is  207  South  Ardmore  Avenue,  Los 
Angeles,  Calif. 

Helen  W.,  Oshkosh,  Wis. — First  tell  me, 
why  the  name  that  invariably  starts  the  funny 
men  of  the  press  writing  paragraphs  and  the 
comic  men  of  the  stage  inventing  jokes?  Is  it 
an  Indian  name?  And  what  does  it  really 
mean?  No  idle  jests,  Helen.  This  time  the 
Answer  Man  wants  to  know.  All  answers  and 
no  questions  make  a  dull  scribe.  I  shall  expect 
another  dainty  missive  on  the  hydrangea- 
colored  correspondence  card,  acquainting  me 
with  the  story  of  the  name  of  Oshkosh.  And 
now,  payment  in  advance.  Barbara  La  Marr 
left  New  York  weeks  ago  for  Italy.  In  Rome 
she  will  play  the  heroine  of  "The  Eternal 
City"  before  the  camera.  Richard  Dix  is  with 
the  Famous  Players-Lasky  Studios,  in  Holly- 
wood, Calif.  Tom  Mix  mixes  his  adventures 
for  the  Fox  Studios  at  1401  North  Western 
Avenue,  Plollywood. 

Lloyd,  Galesburg,  III.  —  Pleased  to 
respond  to  your  first  letter.  This  is  the  cast  of 
"The  Million  Dollar  Mystery,"  which  was  a 
Tannhauser  production:  Sidney  Hargreave,  the 
millionaire,  Alfred  Norton;  Jones,  Hargreeve's 
hitler,  Sidney  Bracey;  Florence  Gray,  Ilar- 
greavc's  daughter,  Florence  La  Badie;  Princess 
Olga,  Marguerite  Snow;  Jim  Norton,  a  news 
paper  reporter,  James  Cruze  (Mr.  Cruze 
directed  the  current  success,  "The  Covered 
Wagon");  Susan,  Florence  Gray's  companion. 
Lila  Chester;  Braine,  one  of  the  conspirators, 
Frank  Farrington. 

[  continued  on  page  103  ] 

81 


82 


Photoplay  Magazine — Advertising  Section 


Can  you  dine 

on  rich  food  and 

escape  tooth  trouble? 

PROBABLY  you  can't.   Bad  as 
modern  food  is  for  the  teeth, 
it  is  even  worse  for  the  gums. 

So  modern  food  is  today  attacking  teeth 
from  two  angles,  directly  and  through  the 
gums. 

And  the  spread  of  pyorrhea  and  other 
infections  is  attributed,  by  the  dental  pro- 
fession, to  the  weakening  of  the  gum  struc- 
ture. 

How  to  clean  teeth  and 
protect  your  gums 

Ipana  Tooth  Paste  not  only  cleans  your 
teeth,  but  keeps  the  gums  firm  and  healthy. 
Thousands  of  dentists  have  written  us  to 
tell  how  they  combat  soft  and  spongy 
gums  by  the  use  of  Ipana. 

In  stubborn  cases,  they  prescribe  a  gum- 
massage  with  Ipana  after  the  ordinary 
cleaning  with  Ipana  and  the  brush.  For 
Ipana  Tooth  Paste,  because  of  the  pres- 
ence of  ziratol,  has  a  decided  tendency  to 
Strengthen  soft  gums  and  to  keep  them 
firm  and  healthy. 

Sen d  for  a  trial  tube 

Ipana  is  a  tooth  paste  that's  good  for  your 
gums  as  well  as  your  teeth.  Its  cleaning 
power  is  remarkable  and  its  taste  is  unfor- 
getably  good.  Send  for  a  trial  tube  today. 

IPANA 

TOOTH  PASTE 

—made  by  the  makers  of  Sal  Hepatioa 

i>  .  .   ,  J&         In  generous  tubes, 

XI  dGk             at  all  drug  and 

r^ye"  ^<0*fe^    department 

Uo-  TTPoiK\.    stores— SOc. 

51  RectorSt.  jflf 
New  York. 
N.Y. 

Kindly  9end  me 

h  trial  tube  of 

IPANA    TOOTH 

PASTE    without        ^H^)Y/         Jy  7^ 

charge  or  obligation  on     N^flkff     <V^v$*^ 

my  part.  ^1^5^    *<£ 

Name "    iK^         "^W 

Address ^sCdiv^* 

State...  X^J^ 


Anna  Q.  Nilsson  looks  a  little  skeptical  of  the  barber's  tonsorial  skill.     Miss 

Nilsson  actually  sacrificed  her  famous  blonde  hair  to  pictures  when  she  recently 

had  her  locks  crd  that  she  might  belter  play  the  role  of  Desmond  in  "  Ponjola." 

Desmond  masquerades  as  a  man  and  lives  in  the  Rhodesian  gold  fields 


Gossip — East  and  West 

[  CONTINUED  FROM  PAGE  72  ] 


Although  a  laboratory  was  erected  in  the 
wilds,  there  was  no  projection  machine  there, 
and  Mr.  Trimble  hadn't  seen  any  of  his  months 
of  work  until  he  got  back  to  Hollywood. 

According  to  the  people  who  saw  it,  his  dog 
race  and  some  of  his  wolf  stuff  is  beyond  any- 
thing ever  attempted  on  the  screen  and  will 
give  his  many  imitators  something  to  "shoot 
at"  for  months  to  come. 

YES,  it  does  seem  to  have  cooled  down  a  bit. 
Maybe  it's  only  that  content  and  custom 
aren't  very  spectacular.  But  the  folks  that 
bet  that  Charlie  Chaplin  and  Pola  Negri  would 
never  get  married  are  beginning  to  decide  what 
to  buy  with  their  winnings. 

Poor  Pola  has  a  black  eye.  Of  course  she 
got  it  in  the  pursuit  of  her  professional  duties. 
Somebody  hit  her  with  a  boot — an  empty  boot 
— in  a  mob  scene  from  the  "Spanish  Cavalier." 
All  in  all,  Pola  has  found  Hollywood  a  pretty 
rough  place. 

DID  you  ever  hear  of  anybody  being  given 
a  part  because  of  an  ability  to  measure 
sneezes?  Well,  that's  what  happened  to  Mary 
Jane  Sanderson,  who  plays  the  part  of  the 
chronic  sneezer  in  a  picture  that  has  been  called 
"Blow  Your  Horn."  Mary  Jane  can  measure 
her  sneezes  with  a  certainty  that  is  really 
mathematical!  # 

"At  first,"  she  says,  "I  tried  to  induce  a 
tickling  sensation  in  my  nose  by  staring  fixedly 
into  the  sky.  But  the  sneeze  that  I  got  in  that 
way  couldn't  be  relied  upon.  Sometimes  it 
was  little.  Sometimes  it  was  a  real  tornado  of 
a  sneeze.  And  that  handicapped  me,  for  in  the 
picture  I  was  obliged  to  vary  my  sneezes;  to 
sneeze  gently  when  the  children  were  in  bed 
and  asleep— to  sneeze  loudly,  to  cut  loose,  in 
fact,  when  I  was  all  alone  in  the  house. 

"I  experimented.  With  snec/.e  powder,  and 
cow-itch,  and  snuff  and  pepper.  And  finally  I 
found  that  the  pepper  was  the  most  satisfac- 
tory. Now  I've  got  it  down  so  fine  that  I  can 
measure  it  out  in  quantities  marked,  respec- 
tively, 'baby  sneeze,'  'flapper  sneeze,'  'he-man 


sneeze,'  and  'rip- roarer.'  My  director  prefers 
the  baby-size  sneeze,  especially  in  scenes  where 
he  has  been  forced  to  use  bric-a-brac!" 

Now  that  it's  hay  fever  season,  various 
mournful  fans  may  take  comfort  in  the  recital 
of  Mary  Jane's  experience.  Who  knows  but 
their  affliction  may  lead  them  to  a  fat  part  in 
the  movies! 

T7VERYBODY  was  much  exercised  for  a  few 
•'—'days  and  the  Los  Angeles  newspapers  car- 
ried many  headlines  on  the  reported  disappear- 
ance of  Mary  Miles  Minter.  She  wasn't  at  her 
own  hillside  bungalow  in  Hollywood.  She 
wasn't  at  Mother  Shelby's  stately  Wilshire 
mansion.  She  wasn't  in  any  of  the  places 
where  she  usually  is,  and  no  one  seemed  to 
know  what  had  happened  to  her.  Then,  Mary's 
grandmother  suddenly  came  forward  and 
cleared  up  all  the  mystery  by  explaining  that 
Mary  was  in  a  sanitarium  resting,  recuperating 
no  doubt  from  the  arduous  labor  of  her  long 
contract  with  Paramount.  Upon  leaving  the 
sanitarium,  she  will  visit  friends  throughout 
the  south,  in  Riverside,  Coronado  and  Pasa- 
dena before  going  east. 

A  SPECIAL  auto  express  service  was  in- 
•**-stalled  at  Camp  Cecil  B.  De  Mille,  near 
Guadalupe,  California,  between  the  camp  and 
Hollywood,  225  miles  away,  during  the  making 
of  the  great  Paramount  spectacle,  "The  Ten 
Commandments."  It  was  necessary  to  see  the 
film  before  the  sets  were  torn  down  so  that 
retakes  could  be  made  if  needed.  So  three  high- 
powered  autos  were  placed  in  service.  Every 
night,  at  seven  o'clock,  a  car  left  Camp  De 
Mille  with  the  film  shot  that  day.  The  film 
reached  the  laboratory  at  midnight  or  a  little 
later.  It  was  rushed  to  the  developing  room 
and  the  driver  rushed  to  bed. 

The  film  was  developed  and  the  driver 
started  back  for  camp  at  two  o'clock  in  the 
afternoon,  arriving  there  about  7:30  o'clock  at 
night  so  that  the  picture  could  be  shown  after 
dinner.  About  the  time  this  driver  pulled  into 
camp,  another  driver  would  leave  for  Holly- 
wood. 


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T. 


GOSSIPS  have  it  that  Jim  Kirkwood  and 
Lila  Lee  will  be  married  before  this  issue  of 
Photoplay  reaches  the  newsstands,  and  that 
Mrs.  Kirkwood  is  securing  a  divorce  in  another 
state.  Lila's  contract  with  Famous  expires  in 
a  few  months. 

HIS  business  o-  dragging  the  names  of 
prominent  film  folk  into  the  newspapers  be 
cause  they  are  in  moving  pictures  received 
quite  a  setback  recently  when  a  New  York 
Supreme  Court  judge  ordered  the  elimination 
of  Lillian  Walker's  name  from  a  divorce  suit, 
as  one  of  a  number  of  co-respondents.  It  was 
proven  that  she  had  only  met  the  man  once, 
and  then  very  casually.  Her  crime  was  in 
being  a  motion  picture  star. 

THE  most  sumptuous  palace  to  arise  on  the 
Hollywood  hills  is  that  of  the  Tony  Mor- 
enos. It  is  an  Italian  villa,  crowning  a  summit 
from  which  you  get  a  view  of  Silver  Lake,  the 
mountains  and  the  entire  city  of  Los  Angeles, 
with  the  sea  shimmering  far  in  the  distance. 
A  great  wall  sweeps  below  its  terraces,  planted 
with  cypresses,  palms  and  rare  tropical  plants. 
Bordering  the  estate  is  a  picturesque  cluster  of 
smaller  buildings,  designed  in  the  Italian  man- 
ner, which  serve  as  stables,  garages  and 
servants'  quarters.  The  wings  of  the  house 
form  a  court  in  which  there  is  a  great  pool  for 
swimming.  The  rooms  within  are  connected 
by  vaulted  corridors,  like  those  of  a  monastery, 
and  the  main  living  room,  with  high  cathedral 
vaulting,  has  a  magnificent  pipe  organ  and  a 
fireplace  of  Italian  marble.  From  its  windows, 
opening  upon  the  terrace,  there  is  an  inspiring 
view  at  night,  the  lights  of  the  city  and  ham- 
lets making  patterns  over  the  plain  that 
stretches  out  to  the  ocean. 

AND  now  Ray  Coffin,  director  of  publicity 
for  Richard  Walton  Tully,  marks  a  great 
bar  sinister  across  the  face  of  the  Tully  ances- 
tral shield.  To  .quote  directly  from  the  page  of 
one  of  his  recently  issued  bulletins: 

"For  Mr.  Tully  is  the  direct  descendant  of 
Capt.  John  Smith  and  Pocahontas,  the  intrepid 
Indian  damsel  who  saved  the  captain  from  a 
messy  fate,  and  whose  grave,  when  opened 
this  week,  failed  to  reveal  her  whereabouts. 
Historians  insinuate  that  Pocahontas  was  a 
foresighted  and  imaginative  girl " 

We'll  grant  that  Pocahontas  was  both  fore- 


«3 


»\  J                           "  -  km 

1  w 

■*Vv-^B».  •- 

j  Underwood  &  Underwood 

Hats  and  gowns  have  been  named  for 
■picture  stars,  but  now  comes  a  hat  named 
for  a  picture — "The  Covered  Wagon" 
hat — the  invention  of  a  Los  Angeles  girl. 
The  wheels,  of  gold  trimming,  cover  the 
ears,  and  the  square  front  shades  the 
eyes.  It  is  said  to  be  light  and  com- 
fortable 


His  natural  choice! 

Here  we  have  the  ever-popular  Cowboy  star,  Hoot  Gibson, 
off  for  Universal  City  to  swing  a  rope  or  brandish  45' s. 
He  is  never  averse  to  taking  chances  before  the  camera 
himself,  but  his  pet  roadster  on  the  boulevard  is  another 
matter.  So  Biflex  Bumpers,  front  and  rear,  are  his 
natural  choice.  The  aristocrats  of  the  bumper  world 
seem  integral  parts  of  his  high  powered  speedster.  Rarely 
are  rugged  strength  and  satisfying  beauty  so  happily 
combined  as  in  Biflex  Bumpers. 

Note  the  space  between  the  double  bars,  where  the 
collision-shock  is  taken  up  before  it  reaches  the  car.  This 
wide  cushioning  area  absorbs  the  impact  as  the  springs 
absorb  road-bumps.  Note,  too,  the  broad  up-and-down 
"bumping  area"  which  effectually  blocks  other  bumpers 
of  different  heights,  and  takes  blows  from  any  direction. 
Biflex  Bumpers  are  the  original  "double-bar"  bumpers 
with  "full-looped"  ends.  Priced  from  $23  to  $28.  Your 
auto  or  accessory  dealer  can  supply  you.      If  not,  write. 

THE   BIFLEX  CORPORATION 

Waukegan,  III. 

Biflex 

Cushion  "Bumper 


Biflex  Bumpers  and  Brackets  are 
guaranteed  against  breakage  for  one 
year.    Fully  protected  by  U.  S.  Patents. 


Trade  Mark 


PROTECTION     WITH     DISTINCTION 


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I* 


V     Vacation 

Anywhere  you  go,  or  in  any 
kind  of  weather,  you  can 
take  Kraft  Cheese  in  tins, 
and  make  your  sandwiches 
fresh  where  you  eat  them. 

Nothing  beats  it  for  con- 
venience; nothing  equals  it 
for  condensed  nourishment 
and  wholesome  goodness. 

Kraft  Cheese  in  tins  is  just 
as  convenient  in  the  home 
as  on  an  outing.  For  it  will 
always  be  fresh,  rich  and 
creamy,  no  matter  when  you 
open  it.  And  with  Kraft 
Cheese  on  the  pantry  shelf, 
come  who  may,  you  are 
always  prepared  to  serve. 
There  are  eight  kinds,  all 
so  good  that  they  bear  the 
Kraft  name. 

No  rind — it  spreads. 
No  waste — 100  ?S  cheese. 

Cheese  Recipe 
Book  FREE 

J.  L.  KRAFT  &.  BROS.  CO. 

CHICAGO,  ILLINOIS 
KRAFT-MacLAREN  CHEESE  CO.,  Ltd. 

MONTREAL,  CANADA 


Jackie  Coogan  met  Heywood  Broun,  3rd,  on  the  recent  visit  of  the  famous  news- 
paper urriler's  son  to  the  coast.  Naturally,  he  challenged  him  to  a  race.  But — 
honest,  now — what  chance  has  a  racer  minus  an  engine  against  a  crack  bicyclist 

of  Jackie's  caliber? 


sighted  and  imaginative.  But,  if  we  intend  to 
rely  upon  Mr.  Coffin's  historical  accuracy, 
we've  got  to  add  that  she  was  also  careless! 
Our  text  books  taught  us,  way  back  in  the  days 
of  the  little  red  school-house,  that  the  intrepid 
Indian  damsel  married  a  certain  English  gen- 
tleman named  Rolfe. 

HERB  HOWE,  of  Photoplay,  went  to  a 
party  in  Hollywood  recently,  and  his  host- 
ess, a  screen  star,  proffered  him  a  glass  of  some 
sort  of  beverage.  Herb  eyed  it  doubtfully. 
His  hostess  told  him  it  had  been  analyzed  and 
was  all  right,  but  still  Herb  hesitated. 

"Why,  I'd  serve  it  to  the  King  of  England," 
said  the  screen  Hebe. 

"I'll  bet  you  would,"  rejoined  Herb.  "You're 
Irish." 

IT  isn't  any  use,  really.  Hollywood  refuses  to 
take  Hope  Hampton  seriously.  The  fact  that 
she  came  west  to  play  the  leading  role  in  "The 
Gold  Diggers"  and  that  both  she  and  her 
manager,  Jules  Brulatour,  and  the  Warner 
Brothers,  all  think  it's  a  mighty  serious  affair 
doesn't  seem  to  matter. 

Hollywood  just  thinks  Hope  Hampton  isn't  a 
real  actress — they  don't  think  she  should  ever 
have  been  cast  for  the  part — and  they  say  so. 
They  invent  nicknames  for  her,  and  continue 
to  be  amused  by  her  assumption  that  the  great- 
est screen  star  of  the  age  has  arrived  to  give 
Hollywood  a  treat. 

DID  you  ever  have  your  best  and  newest 
summer  dress  ruined  by  a  lion?  Well, 
Peggy  Davis  did,  and  she  says  there  will  be  no 
re-takes  of  that  scene.  Peggy  is  a  former 
"Follies"  girl  who  has  done  "bits"  in  pictures 
and  she  is  very  fond  of  animals.  So,  when  Park 
Commissioner  Gallatin,  of  New  York,  asked 
her  to  help  him  take  two  baby  lions  from  the 
Zoo  in  Central  Park  to  the  Silver  Jubilee  Expo- 
sition at  Grand  Central  Palace,  Peggy  chortled 
with  joy. 

She  even  had  a  new,  blue  gingham  dress 
made  for  the  event,  figuring  that  blue  would 
look  well  as  a  background  for  the  tawny  hides 
of  the  cubs,  for  Peggy  is  nothing  if  not  artistic. 
Evidently,  however,  the  baby  lions  had  differ- 
ent views  on  harmony.  For  when  Peggy  and 
Mr.   Gallatin   and  the  cubs  were  all  in  Mr. 


Gallatin's  sedan  on  their  way  to  the  Palace, 
one  of  the  cute  little  things  made  a  swipe  at 
Peggy,  tearing  her  dress  and  scratching  her 
arm.    He  also  butted  Peggy  in  the  nose. 

The  other  cub,  not  wishing  to  be  out  of  the 
picture,  proceeded  to  claw  the  chauffeur,  and 
then  both  babies  started  a  private  fight.  The 
chauffeur  lost  control  of  the  car,  which  ran  into 
another  one,  so  the  net  results  were  two  dam- 
aged cars,  a  ruined  blue  dress,  the  loss  of  quite 
a  lot  of  Davis  epidermis,  and  a  general  fright. 
Neither  of  the  cubs  nor  Mr.  Gallatin  suffered 
damage. 

T_TOPE  HAMPTON  is  to  do  a  Spanish  dance 
-1--Mn  "The  Gold  Diggers."  She  is  not  only 
taking  lessons  from  a  noted  Los  Angeles 
teacher,  but  she  is  acquiring  atmosphere  on  a 
true  Spanish  diet  of  frijoles,  cortillas  and  chili 
con  earner  "I  don't  like  that  sort  of  food,"  she 
says,  "but  I'm  willing  to  make  any  sacrifice  for 
my  art.  I  won't  be  a  Pavlowa  nor  an  Elsa 
Cansino  when  I  get  through  with  my  lessons 
and  diet,  but  I  will  be  able  to  shake  a  wicked 
hip." 

WHO  says  they  never  come  back?  Willard 
Mack,  one  of  the  world's  most  famous  and 
persistent  "come-backs,"  is  in  again,  and  is 
playing  with  Connie  Talmadge  in  her  new  pic- 
ture, "The  Dangerous  Maid."  Incidentally, 
the  likeable  Bill  Mack  has  a  pretty,  if  some- 
times biting,  wit.  He  was  formerly  married  to 
Pauline  Frederick,  and  his  version  of  the  cause 
of  their  separation  was  "too  much  mother-in- 
law." 

When  Miss  Frederick  married  again,  Mack 
telegraphed  her  new  husband :  —  "Congratu- 
lations.   They  are  both  fine  women." 

POLA  NEGRI,  who  used  to  call  the  buffalo 
nickels  the  "money  mit  der  cow,"  is  becom- 
ing Americanized  very  rapidly.  She  has  been 
somewhat  severely  criticized  for  her  attitude 
towards  the  help  around  the  studio,  and  resents 
the  criticism. 

"I  understand  the  Americans  better  now," 
said  the  temperamental  Pola  the  other  day, 
"and  I  know  how  to  treat  them.  In  my  next 
picture  I'm  going  to  grab  the  electrician  around 
the  neck  and  say: — 'Oh,  what  nice  lights  you 
make.'  " 


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ONE  of  Hollywood's  prize  hosts  is  Paul 
Bern,  the  scenario  writer.  If  Paul  is  really 
heartbroken  over  the  recent  marriage  of  a 
famous  screen  vamp  and  beauty,  as  many  aver 
in  the  colony,  he  certainly  conceals  it  well,  for 
everybody  had  the  time  of  their  life  at  a  couple 
of  his  recent  entertainments. 

He  and  Carey  Wilson,  another  writer,  with 
whom  he  lives,  gave  a  spaghetti  part}'  that  was 
a  veritable  riot.  They  had  fixed  their  house 
like  an  Italian  dive,  even  to  the  printed  signs, 
and  the  food  and  conduct  of  the  hosts  was  in 
character. 

The  guests  were  Mr.  and  Mrs.  Rupert 
Hughes,  Edmund  Lowe  and  Lillian  Tashman, 
Mr.  and  Mrs.  Robert  Ellis  (May  Allison),  Mr. 
and  Mrs.  Charles  Maigne  (Anne  Cornwall), 
Mr.  and  Mrs.  Earle  Williams,  Constance  Tal- 
madge,  Mr.  and  Mrs.  Charles  Brabin  (Theda 
Baca),  Norma  Shearer  and  June  Mathis. 

Later  Paul  gave  a  birthday  party  for  Mae 
Busch,  in  the  private  banquet  room  at  the 
Montmartre.  Mabel  Normand  was  there, 
Tulanne  Johnston,  Corinne  Griffith,  Walter 
Morosco,  Billy  Haines  Carey  Wilson  and  Joe 
Jackson. 

TOM  MOORE  is  a  joker.  It  was  pretty  hot 
on  the  Metro  lot  when  he  and  Viola  Dana 
were  making  "Rouged  Lips,"  and  the  little 
star  was  complaining. 

"Oh,  this  isn't  so  hot,"  said  Moore.  "You 
ought  to  see  the  weather  we  get  down  in  Mis- 
souri. One  summer  it  got  so  hot  that  the  Mis- 
sissippi River  dried  up,  and  the  town  fire  de- 
partment was  kept  busy  day  and  night  throw- 
ing water  into  the  river  bed  with  buckets  so 
the  ferry  could  keep  running." 
And  after  that  there  was  a  distinct  coolness. 

DOUGLAS  FAIRBANKS,  JR.,  has  arrived 
in  Hollywood.  A  very  regular  boy,  too. 
He  told  me  they  used  to  have  a  cave  near  his 
summer  home,  he  and  five  other  boys,  and  they 
called  it  the  Ku  Klux  Klan  until  they  found 
out  they  had  to  hide  their  faces  and  they  didn't 
think  that  was  fair.    So  they  re-named  it. 

"What's  the  new  name?"  I  asked. 

"Oh,  that's  a  secret,"  said  Doug.,  Jr.  "Only 
five  fellows  know  that." 

Two  other  sons  of  famous  men,  who  wish  to 
follow  in  their  fathers'  illustrious  footsteps,  are 
among  those  present  on  Hollywood  picture  lots. 
Eddie  Foy's  oldest  son  is  working  at  Goldwyn, 
and  Buster  Collier,  son  of  Willie,  is  playing  the 
leading  role  in  the  new  Frank  Borzage  picture 


p4 

■ 

n  m&&*?m 

. 

-tfjn^Lg.     .^PWB 

mjm 

l^^^^«WlHlfr  : 

t. 

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fhB 

Sadakichi  Hartmann,  the  German-Japa- 
nese writer  and  poet,  who  is  now  display- 
inn  Ids  versatility  l>i/  becoming  an  actor. 
This  shows  him  (is  the  Chinese  prince  in 
the  new  Fairbanks  picture,  "  The  Thief 
of  Bagdad" 


i 


SILVERTOWN*  is  the  one  word  that  means  "ccrd 
tire"  to  the  world.  No  need  to  add  "cord"  or  "tire." 
SILVERTOWN  means  both.  But  now  it  is  also  the 
one  word  that  means  "One  Quality  Only."  For 
SILVERTOWN  is  the  product  of  a  one-quality 
policy.  We  center  thought,  skill,  and  care  on  it, 
and  make  it  the  perfection  of  Cord  tires. 

THE    B.    F.    GOODRICH    RUBBER    COMPANY 

ESTABLISHED  1870 

In  Canada — The  B.  F.  Goodrich  Rubber  Company,  Ltd. 
Toronto    v     Montreal    v    Winnipeg 


Goodrich 

Silvertown  Cord 


SOLD    BY     COODPvlCH     DEALERS    THE   WOFVJLD     OVEP>_ 


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86 


Photoplay  Magazine — Advertising  Section 


Always 
Sold 
in  a 
Yellow 
Box 


TV/TAKES  every  tooth  brush-  NS 
■*■» A  ing  a  thorough  job.  The 
tufted  bristles  reach  between 
the  teeth  and  into  depressions 
without  any  special  effort  on 
your  part. 

Pro-phy-lac-tic  Tooth  Brushes 
are  made  with  hard,  medium, 
and  soft  bristles ;  in  three  sizes — 
adults',  youths',  and  children's. 

Florence  Manufacturing  Company 

Florence,  Mass. 

Sold  by  all  dealers  in  the  United  States, 

Canada,  and  all  over  the  world 

fWpfuj- 

Tooth  <&mt*h 


Harold  Lloyd  made  a  country-wide  search  before  he  located  John  Aasen,  the  giant 

who  appears  in  his  new  farce,  "Why  Worry."     John  appears  very  satisfactory 

as  to  height,  at  least.     "Why  Worry"  may  be  released  as  "Have  a  Heart" 


\A ARY  ALDEN  has  at  last  attained  her 
^"-'•ambition.  She  has  acquired  a  profession 
and  is,  therefore,  independent  of  all  motion 
picture  producers  and  directors.  She  does  not 
intend  to  practice  her  profession  just  yet  and 
will  not  leave  the  films  flat  immediately.  But 
if  any  producer  or  director  gets  too  dictatorial 
hereafter,  Miss  Alden  will  express  her  real 
opinion  and  quit,  knowing  that  she  can  make 
her  own  way  without  the  aid  of  a  camera. 

She  was  out  on  location  while  making  "The 
Eagle's  Feather"  for  Metro,  and  she  received 
individual  and  collective  lessons  from  a  score 
or  more  of  cowpunchers  in  the  delicate  art  of 
(lipping  flapjacks.  The  technique  of  the  art 
intrigued  her  and  she  became  remarkably  pro- 
ficient. "What  do  I  care  for  pictures,"  she 
says,  in  a  lordly  manner.  "Anyone  knows  that 
a  good  flapjack  flipper  is  always  in  demand  for 
work  in  restaurant  windows.  And,  besides,  on 
that  job,  you  have  the  spotlight  all  the  time." 

T_TOLLYWOOD  turned  out  en  masse  to  at- 
■*■  -Mend  the  opening  of  the  all-star  Henry 
Miller  company  at  the  Mason  Opera  House. 
Mr.  Miller  was  trying  out  a  new  play,  "The 
Changelings,"  and  his  cast  included  Blanche 
Bates,  Laura  Hope  Crews,  Ruth  Chatterton, 
John  Miltern,  Geoffrey  Kerr  and  Felix  Krembs. 
But  the  galaxy  of  stars  behind  the  footlights 
was  dimmed  by  those  in  the  audience. 

Mabel  Normand  was  there,  all  in  shimmer- 
ing white.     Constance  Talmadge  had  a  big 


party,  which  included  Irving  Thalberg  and 
Mr.  and  Mrs.  Earle  Williams,  who  looked 
oriental  and  fascinating  in  one  of  these  many- 
colored  and  many-beaded  affairs.  Walter  Mo- 
rosco  and  Corinne  Griffith  attended — and 
Corinne  stopped  traffic  in  the  lobby  when  she 
sailed  in,  wrapped  in  an  ermine  coat.  Oh,  yes, 
Norma  Talmadge  and  her  husband,  Joe 
Schenck — Norma  in  ermine  and  delicious 
white  frock  underneath.  Mr.  and  Mrs.  Doug- 
las McLean — and  Mrs.  McLean  wore  a  dain- 
tily embroidered  organdy  and  lace  gown. 
Laurence  Trimble  and  Jane  Murfin,  Mr.  and 
Mrs.  Conrad  Nagel,  Mr.  and  Mrs.  Joseph 
Schildkraut,  Mr.  and  Mrs.  Harry  Mestayer, 
and  Mr.  and  Mrs.  Jack  Pickford  (Marilvnn 
Miller). 

GOOD  luck  charms  are  often  worn  around 
the  neck,  or  on  the  watch  chain,  or  carried 
in  the  pocket,  but  Ralph  Lewis  wears  his  on 
his  feet.  They  are  heavy-soled,  stub-toed 
brogues.  Lewis  wore  them  in  "In  the  Name 
of  the  Law,"  again  in  "The  Third  Alarm," 
and  again  in  "Westbound  Limited."  Now 
they  are  cast  in  "The  Mailman."  They  cost 
him  $4.80  and  he  figures  they  will  last  at  least 
two  years.    Good  luck  is  cheap  at  $2.40  a  year. 

SOME  years  ago,  Butler  Davenport  produced 
a  terrible  play  at  his  little  theater  in  West 
Twenty-seventh  street,  New  York.  One  of  the 
characters  was  an  undertaker,  and  one  of  the 


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87 


Broadway  wits  remarked  that  it  was  the  only 
show  he  ever  had  seen  that  carried  its  own 
embalmer.  Now,  a  far-seeing  undertaker  in 
Iowa  has  decided  that  there  is  a  place  for  him 
in  motion  pictures,  and  has  written  a  well- 
known  producer,  asking  for  a  job.  His  argu- 
ment is  that  all  death  scenes  in  the  movies 
should  be  worked  out  carefully,  and  he  thinks 
he  is  qualified  to  become  a  technical  director 
for  death  and  burial  scenes.  There  are  many 
pictures  in  which  an  undertaker  should  be 
cast  in  a  leading  role  in  an  epilogue,  taking  full 
charge  of  the  entire  production. 

DAVID  BELASCO  has  paid  Brandon  Tynan 
the  highest  compliment  that  an  actor  ever 
received.  Mr.  Belasco  has  objected  to  Mr. 
Tynan's  impersonation  of  him  in  the  Ziegfeld 
"Follies"  because  it  is  too  perfect  and  he  does 
not  wish  people  to  think  that  at  his  time  of  life, 
he  is  fooling  around  with  "  Follies  "  girls.  This 
imitation  of  Mr.  Belasco  is  one  of  the  finest 
pieces  of  acting  Mr.  Tynan  ever  has  done.  It 
is  so  good  that  Mr.  Belasco  has  received  many 
letters,  commenting  upon  it.  So  Sir  David 
telegraphed  from  Hollywood,  where  he  was 
aiding  in  the  motion  picture  production  of 
"Tiger  Rose,"  with  Lenore  Ulric: — "Audiences 
at  the  Ziegfeld  '  Follies '  are  being  led  to  believe 
that  I  am  present  at  every  performance 
through  an  impersonation  of  me  that  is  not 
announced  as  such.  I  will  greatly  appreciate 
co-operation  in  correcting  this  impression, 
which  is  embarrassing  to  me  and  my  friends." 
How  foolish  some  wise  men  can  be  at  times. 

CHARLES  DILLINGHAM,  who  has  always 
been  classed  among  the  legitimate  theatri- 
cal producers,  is  getting  into  the  movie  mag- 
nate class.  He  recently  tipped  a  porter  in 
Vienna  a  million.  Of  course,  it  was  only  a 
million  kroner — but  it  was  a  million.  All  his 
life,  Mr.  Dillingham  says,  he  has  pictured  him- 
self handing  a  million  to  someone,  accompanied 
by  a  lordly  wave  of  the  hand.  Now,  he  has 
done  it.  He  feels  like  a  philanthropic  Rocke- 
feller. How  much  did  it  amount  to  in  United 
States  money?    Oh,  just  $14. 

DOUGLAS  FAIRBANKS  owns  his  face. 
The  High  Court  of  Justice  for  the  District 
of  Zurich,  Switzerland,  has  said  so,  and  that 
settles  it.  No  one  can  take  Doug's  face  away 
from  him,  no  one  can  mar  it — if  Doug  can 
stop  them — and,  perhaps  most  important,  no 
one  can  use  it  for  advertising  purposes  unless 
the  owner  agrees.    All  this  came  out  of  a  suit 


■iity~^t/^>&ty^><iz/3><xy^>>^ 


*5P  HI 


Still  another  jumps  from  society  to  the 
screen.  Mary  Louise  Woods,  of  the 
Pittsburgh  Four  Hundred,  will  make  her 
debut  in  Johnny  Walker's  production  of 
"The  Worm" 


Trade  Mark 


« 


Winter's 

7/WRAP-AROUND 

The  Corset  Invisible 

THERE  is  freedom  in  this  Warner's  Wraparound 
and  feminine  grace.  There  is  the  modern  con' 
venience  of  an  unseamed  elastic  panel  instead  of 
lacings;  there  is  light  boning,  dainty  fabric  and  an 
edging  of  lace.  There  is  comfort  for  all-day  wear 
for  many  a  day;  no  stretching  as  a  rubber  girdle 
stretches;  ease  at  the  waist-line  when  you  are  seated, 
and— best  of  all— just  a  perfect  contour  under  your 
frock  and  your  Wrap-around  is  INVISIBLE. 

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Wraparounds  are  made  only  by  the  "Warner  Brothers  Co.,  347  Madison 
Ave.,  KlewYor\;  367  W.  Adams  St.,  Chicago;  28  Geary  St.,  San  Fran' 
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88 


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fcsL 
AutiMb  in 


IF  you  are  going  to  Europe  this  year 
give  your  trip  the  widest  possible 
variety  and  interest.  Make  your  plans 
now  to  spend  the  hot  days  of  Septem- 
ber in  comfort  at  sea,  see  Europe  in 
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the  sea  winds  bring  a  magic  touch  ofin- 
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Send  in  the  information  blank  below  and  learn 
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The  great  Leviathan — the  World's  Cham- 
pion Ship,  fastest,  largest,  finest — plies  every 
three  weeks  between  New  York,  Southampton 
and  Cherbourg.  Three  other  first  class  ships 
sail  to  Plymouth,  Cherbourg  and  Bremen. 

Next  sailings  are: 

Geo.  Washington  Sept.    1  Oct.    6 

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In  addition  there  are  five  excellent  ships  in  the 
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INFORMATION  BLANK 

To  U.  S.  Shipping:  Board 

Infor.  Section  1726    U.S.    \Vash.,D.  C. 

Please  semi  without  obligation  the  U.  S.  Govern- 
ment Booklet  eivinj;  travel  facts.  I  am  considering  a 
trip  to  EuropeD ,  to  the  OrientD  ,toSouth  AmericaC 


T'r  n  I 

UNITED 


i  in  rigard  to  sailings  address: 

STATES   LINES 


45  Broadway  New  York  City 

Agtnuti  in  Priniipal  Cities 
Managing  Operators  for 

U.    S.    SHIPPING    B   OARD 


to  prevent  Max  Worod,  a  Swiss  manufacturer 
of  cigarettes  and  cigarette  boxes,  from  placing 
the  handsome  Fairbanks  features  on  the  boxes. 
Also  Worod  must  call  in  all  the  boxes  he  has 
distributed  and  must  pay  damages  to  Doug. 

MR.  AND  MRS.  CHARLES  RAY  enter- 
tained with  a  very  delectable  swimming 
party  the  other  day  for  young  Cornelius  Van- 
derbilt,  who  is  in  Hollywood  for  the  general 
purpose  of  starting  a  new  illustrated  news 
weekly. 

Among  the  guests  were  Mr.  and  Mrs. 
Douglas  McLean,  Mr.  and  Mrs.  Fred  Nillo, 
(Enid  Bennett),  and  Mrs.  Niblo's  sisters,  Mar- 
jorie  and  Katherine  Bennett,  Miss  Julanne 
Johnston,  Mr.  and  Mrs.  Harold  Lloyd  (Mil- 
dred Davis),  Mr.  and  Mrs.  Charles  Brabin 
(Theda  Bara),  and  Mitchell  Lyson. 

After  the  swimming  party  everybody  put  on 
their  best  sport  clothes  and  attended  a  Spanish 
barbecue  supper  at  the  rancho  of  Mr.  and  Mrs. 
Stanley  Anderson. 

YES,  yes,  it's  true.  Fred  Thomson,  world's 
champion  athlete,  did  give  Stephen  Gus- 
sand,  well  known  art  director,  a  beautiful 
beating.  In  fact,  it  might  be  termed  a  classic 
beating.  Even  Mr.  Gussand  must  have  de- 
cided that  it  was  a  work  of  art. 

Fred  Thomson,  as  you  know,  is  married  to 
Frances  Marion,  scenario  writer  and  director 
for  Norma  Talmadge.  And  it  appears  that 
Mr.  Gussand  said  something  about  somebody 
that  Mr.  Thomson  thought  he  shouldn't  have 
said.  It  is  rumored  that  he  mentioned  Mrs. 
Thomson's  name  without  the  respect  which 
Mr.  Thomson  demands  in  connection  with  his 
beautiful  wife.  So  Fred  went  and  got  him  and 
punished  him  royally. 

A  few  more  things  like  that  and  gossip  about 
women — lying,  malicious  gossip,  of  which  there 
is  too  much  in  Hollywood — will  cease. 

H.  B.  WARNER,  leading  man  for  Gloria 
Swanson  in  the  Paramount  version  of 
"Zaza,"  is  strong  for  the  police.  He  and  his 
wife,  Rita  Stanwood,  went  to  the  ball  game  at 
the  Yankee  Stadium  in  New  York  recently  and 
found,  when  they  reached  the  gate,  that  they 
had  no  money.  He  remembered  the  old  song, 
"Tell  Your  Troubles  to  a  Policeman"  and  did 
so.  Whereupon,  Policeman  Drescher,  although 
he  did  not  know  Mr.  Warner,  lent  him  money 
enough  to  get  into  the  game  and  also  taxi  fare 
home.  Mr.  Warner  not  only  sent  Drescher  a 
check  for  double  the  amount  loaned,  but  wrote 


to  Police  Commissioner  Enright,  telling  him 
what  a  fine  cop  Drescher  is. 

WELL,  it  looks  sort  of  final  this  time. 
We  don't  say  it  is. 

Probably  it  isn't. 

But  just  by  way  of  being  up  to  the  minute 
on  news,  Jack  Gilbert  and  Leatrice  Joy  have 
separated  again. 

Letty  is  all  excited  about  her  role  in  "The 
Ten  Commandments"  and  she  really  doesn't 
seem  to  notice  that  she  has  mislaid  a  husband. 

Further  reports  of  the  next  round  will  appear 
in  this  publication  later. 

f^LADYS  WALTON,  who  secured  a  divorce 
^-Jfrom  one  husband  the  other  day,  acquired 
another  one  almost  immediately.  She  was 
married  to  Henry  Herbel,  eastern  salesmanager 
for  Universal.  Well,  if  one  is  a  star  and  must 
marry,  the  man  who  sells  pictures  ought  to  be 
a  very  useful  as  well  as  ornamental  husband. 
We  hope  Ray  Griffith,  whose  name  was 
much  mentioned  as  an  aspirant  for  matrimo- 
nial honors  in  connection  with  Miss  Walton, 
will  bear  the  shock,  because  Ray  is  such  a  good 
actor  it  would  be  a  shame  to  have  him  thrown 
out  of  his  stride  by  the  Universal  beauty. 

LENORE  ULRIC,  the  famous  Belasco  stage 
star,  is  in  Hollywood  at  the  Warner  Broth- 
ers' studio,  filming  "Tiger  Rose."  Frances 
Marion  entertained  for  her  with  a  cat  party 
the  other  evening,  and  afterwards  ran  some 
one  and  two  reel  pictures  of  Mary  Pickford  and 
Norma  and  Constance  Talmadge  in  their  first 
screen  vehicles.  The  company  had  hysterics 
over  the  funny  clothes  and  the  funny  stories 
and  the  funny  acting  in  them. 

Those  at  the  dinner  were  Norma  Talmadge, 
who  wore  the  cunningest  little  sport  frock  of 
white  canton  crepe,  with  a  red-embroidered 
Russian  blouse;  Theda  Bara,  also  in  white  silk, 
with  Japanese  pictures  printed  in  pale  blues 
and  greens;  Constance  Talmadge,  in  a  tan 
skirt  and  a  sleeveless  tan  sweater,  over  a  pale 
green  silk  blouse;  Eileen  Percy,  in  a  red  and 
white  checked  dress,  with  perfectly  straight 
lines;  Mrs.  Talmadge;  Miss  Kathleen  Kerri- 
gan, who  is  a  sister  of  Warren  Kerrigan,  and 
Miss  Ulric's  companion;  Kitty  Archainbaud; 
Ethel  Grey  Terry;  Mary  Alden;  and  Mildred 
Davis  Lloyd,  in  a  white  and  green  print  crepe 
dress,  with  little  bows  of  narrow  black  ribbon 
and  a  black  sash. 

Miss  Ulric  wore  a  frock  of  gray-blue  geor- 
gette, with  an  exquisite  lace  collar. 


Jesse  L.  Lasky,  vice-president  of  Famous  Players-Lasky  Corporation,  on  location. 

lie  is  driving  a  sand  sled,  the  only  means  of  transportation  in  the  desert  where 

"The  Ten  Commandments''  is  being  made.     His  passengers  are  Mrs.  Louis 

Gordon,  Mrs.  Arthur  Gaines,  Mrs.  Henry  de  Mille  and  Mrs.  Lasky 


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Photoplay  Magazine — Advertising  Section 


: 

i  i 

i 

'■MFm 

■     c-* 

Mil 

B 

• 

Carmelita  Geraghty,    the  Span  Irish 

(daughter  of  Tom  Geraghty,  of  the  Famous 
Players  scenario  department,  whose 
beauty  is  not  a  paternal  heritage.  She  is 
in  "The  Daughter  of  Mother  McGinn" 

MARION  DAVIES  has  been  giving  the 
Hollywood  movie  studios  the  once-over. 
It  is  her  first  visit  to  the  western  colony  and 
everybody  is  raving  about  the  lovely  Cosmo- 
politan star. 

"I  never  had  any  idea  she  was  so  beautiful," 

is  what  you  hear  everywhere.     "Isn't  it  too 

bad  that  lovely  coloring  won't  photograph." 

There  is  a  fifty-fifty  chance  that  her  next 

production  will  be  made  on  the  coast. 

REMEMBER  Flora  Finch?  Remember 
when  she  used  to  play  with  John  Bunny, 
when  that  portly  individual  was  the  screen's 
favorite  comedian?  Well,  Flora  is  leaving  the 
screen  flat  and  going  into  the  spoken  drama. 
She  has  been  engaged  for  the  chief  comedy  role 
in  "Brains,  Inc.,"  the  Edward  Laska  play 
which  The  Bohemians  will  produce  with  Rob- 
ert Ames  in  the  featured  role. 

MRS.  OLIVER  HARRIMAN,  one  of  the 
shining  lights  of  New  York  society,  has 
gone  into  the  movies.  No,  not  as  an  actress, 
but  as  a  producer.  She  is  in  Europe  looking 
for  material  suitable  for  the  Film  Guild,  which, 
organized  by  four  college  men,  aims  to  do  for 
the  screen  what  the  Theater  Guild  has  done 
for  the  stage.  Mrs.  Harriman's  son,  Borden, 
has  a  role  in  a  Film  Guild  adaptation  of  a 
Scott  Fitzgerald  story. 

NIGEL  BARRIE  and  Wanda  Hawley  are 
getting  to  be  regular  globe-trotters.  Mr. 
Barrie  writes  from  London  that  they  have  just 
returned  from  Luxor,  Cairo,  Assouan  and  way 
stations  in  Egypt,  where  they  have  been  mak- 
ing "Fires  of  Fate,"  in  which  they  are  co- 
starred.  This  is  an  adaptation  of  Conan 
Doyle's  novel,  "The  Tragedy  of  the  Korosko." 
Mr.  Barrie  admits  that  he  prefers  London  to 
the  desert,  and  he  therefore  is  probably  satisfied 
with  the  locale  of  his  next  picture,  which  will 
be  "The  Lights  o'  London."  Miss  Hawley 
will  be  starred  with  him  in  this  picture  also. 

PHOTOPLAY  has  become  keenly  interested 
in  the  efforts  of  Francis  X.  Bushman  to  re- 
turn to  the  screen.  Bushman  and  his  wife, 
Beverly  Bayne,  have  been  appearing  in  the 
varieties  for  a  long  time  with  unusual  success. 
There  is  no  doubt  that  he  has  not  been  for- 
gotten. Film  audiences  still  have  a  place  in 
their  hearts  for  the  man  who  once  was  one  of 
their  greatest  idols.  There  is  no  question,  too, 
as  to  the  sincerity  of  Bushman's  efforts  to  re- 
turn.   His  recent  picture,  "  Modern  Marriage," 


They  Did  This 

To  find  the  way  to  prettier  teeth 


This  is  how  millions  found  the  way  to 
whiter,  cleaner,  safer  teeth.  You  see 
glistening  teeth,  as  ene  result,  wherever  you 
look  today. 

The  same  free  test  is  at  your  command. 
If  you  don't  know  this  method,  try  it  now. 
Watch  the  changes  that  it  brings.  Then 
judge  by  what  you  see  and  feel  if  you  and 
yours  should  use  it. 

Remove  the  film 

It  is  film  that  makes  teeth  dingy — 
that  viscous  film  you  feel.  It  clings  to 
teeth,  gets  between  the 
teeth  and  stays.  The 
film  absorbs  stains, 
then  forms  cloudy 
coats.  Tartar  is  based 
on  film. 


Avoid  Harmful  Grit 


Old-way  brushing 
left  much  film  intact, 
so  beautiful  teeth  were 
seen  less  often  than 
now.  Tooth  troubles  were  almost  universal 
— most  of  them  due  to  film. 

Film  holds  food  substance  which  fer- 
ments and  forms  acids.  It  holds  the  acids 
in  contact  with  the  teeth  to  cause  decay. 
Germs  breed  by  millions  in  it.  They,  with 
tartar,  are  the  chief  cause  of  pyorrhea. 

So  dental  science  has  long  been  seeking 
ways  to  fight  that  film. 

Two  methods  now 

Two  methods  were  discovered.  One  acts 
to  curdle  film,  one  to  remove  it,  and  without 
any  harmful  scouring. 

Able  authorities  proved  these  methods 
effective.  Then  a  new-type  tooth  paste  was 
created,  based  on  modern  research.     These 


Pepsodent  curdles  the  film 
and  removes  it  without  harm- 
ful scouring.  Its  polishing 
agent  is  far  softer  than  enamel. 
Never  use  a  film  combatant 
which  contains  harsh  grit. 


two  great  film  combatants  were  embodied 
in  it. 

The  name  of  that  tooth  paste  is  Pep- 
sodent. Today  careful  people  of  some 
fifty  nations  employ  it,  largely  through 
dental  advice. 

Other  new  effects 

Pepsodent  brings  other  effects  which 
modern  research  proves  essential.  It 
multiplies  the  alkalinity  of  the  saliva.  That 
is  there  to  neutralize  mouth  acids,  the  cause 
of  tooth  decay. 

It  multiplies  the 
starch  digestant  in  the 
saliva.  That  is  there  to 
digest  starch  deposits 
on  teeth  which  may 
otherwise  ferment  and 
form  acids. 


Thus  every  use  gives 
manifold  power  to  these 
great  natural  tooth-pro- 
tecting agents.     There  has  come  a  new  era 
in  dental  hygiene. 

Look  in  ten  days 

The  way  to  know  these  benefits  is  to 
make  this  ten-day  test.  Then  judge  by 
what  you  see  and  feel.  Let  your  own 
mirror  tell  you  if  this  new  way  excels  the 
old. 

Send  the  coupon  for  a  10-Day  Tube. 
Note  how  clean  the  teeth  feel  after  using. 
Mark  the  absence  of  the  viscous  film.  See 
how  teeth  whiten  as  the  film-coats  dis- 
appear. 

The  effects  are  quick  and  convincing. 
Give  to  yourself  and  your  family  this 
chance  to  use  and  know  them.  Cut  out  the 
coupon  now. 


Pepsatlerd. 

10-Day  Tube  Free  1199 

The  New-Day  Dentifrice 

A  scientific   film   combatant,   which 
whitens,  cleans  and  protects  the  teeth 
without  the  use  of  harmful  grit.     Now 
advised  by  leading  dentists  the  world 
over. 

THE  PEPSODENT  COMPANY 

Dept.  181,  1104  S.  Wabash  Ave..  Chicago,  111. 
Mail  10-day  tube  of  Pepsodent  to 

, — , 

ONLY  ONE  TUBE  TO  A  FAMILY 

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Photoplay  Magazine — Advertising  Section 


A  man  cannot  forgive 
this  deadly  little  sin 

A  woman  may  have  a  crooked  nose  or  a 
muddy  skin  —  and  she  can  still  be  so  charm- 
ing that  men  will  fall  in  love  with  her. 

But  there  is  a  more  subtle  form  of  unlove- 
liness  which  men  find  hard  to  forgive.  It  is 
doubly  dangerous  because  it  creeps  in  un- 
recognized to  destroy  that  most  precious 
feminine  quality — personal  daintiness. 

Daily  bathing  cannot  protect  you  from 
the  unpleasantness  of  underarm  perspiration. 
Not  only  women,  but  men  too,  now  realize 
that  the  underarm  requires  regular,  special 
care — care  best  given  in  one  of  these  two 
delightful  ways. 

ODO-RODO 

the  liquid  corrective 
for  excessive  perspiration 

Millions  of  men  and  women,  troubled  with  both 
excessive  underarm  moisture  and  odor,  find  in 
Odorono  their  one  complete  safeguard.  Formu- 
lated by  a  physician,  it  harmlessly  and  scientifically 
controls  perspiration,  which  medical  authorities 
agree  may  be  done  in  limited  areas  without  ill 
effects.  Used  regularly  twice  a  week,  Odorono  pro- 
tects the  underarms  and  clothing  from  all  odor  and 
moisture.  It  is  also  an  effective  antiseptic  for  cuts, 
poison  ivy,  etc.    At  all  toilet  counters,  35c,  6oc,  $1. 

Creme  ODORODO 

a  vanishing  cream 
especially  for  odor 

Many  people  are  troubled  chiefly  with  underarm 
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used  when  dressing  without  affecting  clothing. 
Smooth  and  soft,  it  will  not  harden  or  dry.  Men, 
too,  like  its  convenience  for  every-day  dependence 
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If  you  are  troubled  with  perspiration  odor,  use 
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moisture  use  Odorono  (liquid).  Many  dainty 
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occasions  and  needs,  which  vary  with  the  weather, 
nervous  condition  and  even  with  changes  in  diet. 

Send  6c  for  trial  tube  of  CREME  ODORONO  or 
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Dorothy  Knapp,  winner  of  an  almost  uncountable  number  of  beauty  prizes,  show- 
ing the  latest  thing  in  Annette  Kellermanns.  Dorothy  was  recently  chosen  as 
America's  Venus  at  a  New  York  physical  culture  show.    We're  with  the  judges! 


revealed  that  he  has  not  been  standing  still 
during  his  absence  from  the  films.  He  is  still 
one  of  the  best  of  our  male  players.  Mr.  Bush- 
man and  Miss  Bayne  have  the  best  wishes  of 
Photoplay  in  their  return  to  screendom. 

EVERYBODY  is  fond  of  a  dog— at  least, 
everybody  worth  while!  But  it's  often  hard 
even  for  a  dog  lover  to  locate  a  puppy  with 
personality.     Screen  personality. 

You  see,  in  Ralph  Lewis'  la-test  starring 
vehicle,  "The  Mail  Man,"  a  dog  was  needed. 
To  take  an  important  part,  for  his  action  in- 
cluded the  saving  of  the  star's  life.  They 
wanted  a  little  mongrel,  a  dog  with  pathos  and 
appeal — not  a  turtle  fed  puppy  of  luxury.  And 
so  Bernard  Miller,  Mr.  Lewis'  production  man- 
ager, had  been  searching  Bide-a-wee  Homes 
and  pounds  and  all  sorts  of  animal  refuges  for 
weeks — but  with  no  measurable  success.  Until 
a  night  or  two  ago,  he  was  coming  home  late, 
through  a  dark,  deserted  street,  when  he  felt 
something  rub  against  his  leg.  And,  looking 
down,  he  saw  that  the  something  was  a  little 
brown  dog — a  lonely,  meek  little  dog  that  was 
awfully  anxious  to  find  a  friend.  He  paused 
and  stooped  down  and,  as  he  bent  over,  he 
insists  that  the  dog  seemed  to  smile  at  him! 

If  a  dog  can  smile — well,  he's  the  sort  of  a 
dog  who  will  go  pretty  good  in  any  picture — 
or  any  home,  for  that  matter.  So  Mr.  Miller 
annexed  the  little  fellow  and  took  him,  the 


next  morning,  to  the  studio.  And  the  puppy 
screened  so  well,  and  has  proved  so  grateful 
and  affectionate,  that  after  the  picture  is  over 
Ralph  Lewis  has  planned  to  adopt  him. 

HpHE  time  and  the  place  in  Hollywood  right 
*■  now  really  is  the  Montmartre  on  Saturday 
for  lunch.  Outside  of  Paris,  itself — and  maybe 
New  York — you  couldn't  see  a  more  marvel- 
lously gowned,  merrier  crowd,  anywhere  in  the 
world.  And  the  brilliance  of  the  names  and 
the  beauty  of  the  women  is  quite  astounding. 
They  have  a  corking  orchestra  and  everybody 
knocks  off  work  for  the  day  and  dances. 

Last  Saturday  I  saw  Charlie  Chaplin  lunch- 
ing with  a  well  known  woman  writer;  Joseph 
Schildkraut  and  his  wife — a  pretty  little  thing 
in  a  green  and  yellow  sport  frock;  Hedda  Hop- 
per in  gray  crepe  de  chine  with  a  gray  feath- 
ered turban — she  had  a  large  luncheon  party — 
Viola  Dana  and  Lefty  Flynn,  Mae  Busch,  Mrs. 
Antonio  Moreno,  Carmel  Myers  and  Bc.-sie 
Love — Bessie  had  the  cutest  hat,  with  an 
enormous  pink  rose  on  one  side— Jane  Murfin, 
in  a  white  sport  costume,  all  embroidered  in 
reds  and  greens,  with  a  little  red  hat  and  a  pair 
of  entrancing  red  shoes,  Jack  Holt,  Agnes 
Ayres — not  together,  of  course — Julanne  John- 
ston, in  an  orchid  silk  sweater  and  a  soft  orchid 
hat  of  crushed  felt;  Riccardo  Cortez,  Douglas 
MacLean  and  Sigrid  Holmquist,  the  Swedish 
Mary  Pickford,  who  is  in  Hollywood.     Also 


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Edna  Purviance,  in  severely  tailored  tan  sport 
clothes. 

Oh,  it  was  really  quite  a  gathering. 

IT  is  getting  so  in  Hollywood  that  the  first 
question  a  casting  director  asks  an  applicant 
for  a  job  is  "Have  you  a  title?"  There  are 
almost  as  many  members  of  the  nobility  in 
pictures  these  days  as  there  are  sons  of  mil- 
lionaires. One  of  the  late  arrivals  is  Princess 
Valdemar  who,  as  Thais  Valdemar,  is  in  "The 
Brass  Bottle."  She  is  the  widow  of  Prince 
Valdemar  Valkonsky,  of  Russia,  and  the 
daughter  of  a  colonel  of  a  Cossack  regiment 
and  a  political  revolutionist. 

Her  husband  was  drowned  shortly  after  their 
marriage  and,  a  few  weeks  later,  she  and  her 
mother  were  arrested  as  members  of  the  revo- 
lutionary party.  Now  she  has  joined  the  Rus- 
sian refugee  colony  in  Hollywood  and  acquired 
a  press  agent. 

THEY  say  that,  at  last,  a  certain  European 
nobleman  has  really  come — incognito — to 
Hollywood.  The  story  goes  that  he  was  found 
working  as  a  "prop"  in  a  certain  studio.  Dirty 
overalls  and  everything!  It  was  only  when  a 
cablegram  was  delivered  to  him,  a  few  days 
ago,  that  those  in  authority  discovered  that 
one  of  their  laborers  was  Count  Phillipe  d'Esco, 
an  exiled  Rumanian  whose  ancestral  estates 
were  confiscated  during  the  world  war.  We 
wonder  how  much  longer  they'll  let  him  wear 
the  overalls? 

JOHN  D.  ISAACS,  reputed  to  be  the  "father 
J  of  motion  pictures,"  has  resigned  his  position 
as  consulting  engineer  of  the  Southern  Pacific 
Company  after  almost  fifty  years  of  service. 
Mr.  Isaacs  won  his  motion  picture  title  back 
in  1875  as  the  result  of  a  bet  between  young 
Leland  Stanford  and  James  R.  Keene.  Stan- 
ford bet  that  a  trotting  horse,  at  one  period 
of  its  stride,  had  all  four  feet  off  the  ground. 
Isaacs  won  the  bet  for  Stanford  by  showing  a 
strip  of  pictures,  made  with  a  series  of  cameras, 
the  shutters  of  which  were  controlled  by  an 
electro-magnetic  device  of  his  own  invention. 
The  tests  were  made  at  Palo  Alto,  on  the  great 
Stanford  stock  farm,  and  the  original  pictures 
are  still  in  the  Stanford  University  museum. 

1 

ANNA  Q.  NILSSON  cut  her  beautiful 
-*»-blonde  hair  short  like  a  boy's  for  the  lead- 
ing role  of  "Ponjola."    It's  very  becoming  and 


Mary  Beth  Milford  has  been  one  of  the 
featured  attractions  in  "  The  Music  Box 
Revue,"  one  of  Next)  York's  highly  dec- 
orative musical  comedies.  Now  she  is 
going  to  appear  before  the  camera  in  the 
new  series  of  H.  C.  Witwer's  "Fighting 
Blood"  pictures 


Ave  you  buying  your  medicine 

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cabinet  in  the  dark,  knowing 
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Such  products  (often  used 
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even  harmful. 

How  do  you  select  them  ? 

Do  you  merely  ask  for 
"epsom  salt,"  "milk  of  mag- 
nesia," "boric  acid"?  Or  do 
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family  by  buying  such  products 
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92 


Photoplay  Magazine — Advertising  Section 


Wrinkles 
Shatter  'Dreams 


Wrinkles  have  a  habit  of  stamping  them- 
selves upon  feminine  faces. 

There  are  "laughing  wrinkles"  that  crinkle  the 
skin  around  the  eyes  and  corners  of  the  mouth — 
"student  wrinkles" — coming  from  the  scowl  that 
means  deep  thought  and  "sunshine  wrinkles" — 
those   perpendicular  ones   between  the   brows — 

All  stamp  age  across  your  face — 

for  all  to 

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Removes  wrinkles  by  removing 
the  cause.  It  feeds  and  strength- 
ens the  underlying  tissues  and 
makes  new  wrinkles  impossible 
to  form.  It  softens  the  skin, 
feeds  the  starved  cells  and  then 
holds  the  skin  in  its  new  wrinkle 
free  position  until  the  wrinkles 
are  gone  forever.  Get  it  at  once 
— say  good-bye  to  age — you  have 
a  right  to  preserve  youth.  Send 
the  coupon.    Ego  is  guaranteed. 

Grace  M.  Anderson 

V.  VIVAUDOU,  Inc. 

Dept.  109,  469  Fifth  Ave.,.'N.Y. 

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handkerchief 
is  dipped   in 

vi  a  I  er , 
wrinkles    dis- 
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lite    effect     of 
Ego     Wrinkle 

Rr  mover. 


WriH  Hiss  An- 
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ous  Ego  Chart.  It 
will  help  you  on 
the  road  to  beauty. 
Do  you  know 
whether  you  have 
wrinkles  or  not? 
The  Brtllily  Chart 
Will  tell  * 

today. 


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kerchief. 


VIVAUDOU^ 


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Dept.  109  469  Fifth  Avenue,  New  York 
ENCLOSED  find  *5  00— for  which  please  send  me  tube  of 
Ego  Wrinkle  Remover.  I  am  privileged  to  return  the  Ego 
Wrinkle  Remover  and  liave  money  refunded  should  I  not  be 
entirely  satisfied.  (Use  separate  sheet  if  ordering  other 
products.) 


Young  Craig  Biddle  made  his  film  debut  as  the  lanky  youth  of  the  romantic  flash- 
back in  Goldwyn's  "Three  Wise  Fools."     Raymond  Halton  and  Eleanor  Board- 
man  are  the  other  characters 


the  director  and  producer  and  everybody  were 
tickled  to  death  about  it. 

But — oh,  what  Anna's  handsome  young  hus- 
band of  a  few  months  said  when  he  saw  it.  Not 
only  that,  but  every  time  since  that  he's  looked 
at  the  place  where  Anna's  dainty  blonde  curls 
used  to  be,  he  starts  to  rave.  And  Anna 
figures  it'll  take  several  months  after  the  pic- 
ture is  finished  to  grow  even  a  short  bob.  Such 
are  the  sacrifices  a  woman  must  make  for  her 
art. 

AMOTION  picture  press  agent  in  Denver 
has  outdone  the  Jonah  and  the  whale 
story.  All  the  whale  ever  did  was  to  swallow 
Jonah  and  then  cast  him  up  on  the  shore.  This 
press  agent  landed  a  whale  up  on  top  of  Pike's 
Peak  as  a  stunt  to  advertise  "Down  to  the  Sea 
in  Ships."  Then  he  sent  word  to  the  newspa- 
pers as  to  the  whereabouts  of  the  whale,  and 
planted  himself  beside  it,  "  spouting  "  by  means 
of  siphons  of  seltzer.  He  got  his  crowd,  both 
at  the  scene  of  the  exploit  and  in  the  theater. 

A/f  ACK  SENNETT  Is  to  organize  several 
■'■''■'■units  which  will  specialize  in  comedies 
featuring  children  and  animals.  The  Sennett 
Studio  has  a  collection  of  animals  of  all  kinds 
which  rivals  the  best  of  the  zoos,  and  they  are 
all  in  training  for  picture  work.  It  has  also  a 
bevy  of  juvenile  actors  and  actresses  and  is 
adding  more  every  week.  Mr.  Sennett  be- 
lieves that  children  are  among  the  best  patrons 
of  pictures  and  he  wishes  to  appeal  directly 
to  them.  However,  the  grown-up  boys  need 
hot  worry.  He  is  also  forming  a  new  "Beauty 
Brigade." 

npIIF.Y  say  that  Dorothy  MacKail,  Dick 
J-  Barthelmess'  new  leading  lady,  has  one  of 
the  prettiest  complexions  in  filmdom.  And 
this  is  the  reason  why.  Dorothy — who  is  from 
England,  where  the  prettiest  complexions  seem 
(o  grow — eats  only  fruits  and  vegetables  dur- 
ing the  summer.  And  takes  her  exercises  with 
the  skipping  rope,  just  like  Jack  Dempsey.  A 
sample  daily  menu,  for  Miss  MacKail,  would  be: 

Breakfast — Sliced  bananas  and  cream. 

Luncheon — Cantaloupe,  fruit  salad,  lemon- 
ade, and  raspberries. 

Supper — Grapefruit,  mixed  salad,  more  lem- 
onade and  a  water  ice. 


ONE  of  the  leading  roles  in  Allen  Holubar's 
new  special  for  Metro  is  that  of  an  old 
southern  preacher.  Allen  had  spent  days  look- 
ing over  casting  lists  and  seeing  pictures  in  an 
effort  to  get  just  the  type.  Without  success. 
One  day  he  was  driving  down  the  main  street 
of  Los  Angeles  when  he  saw  an  old  man  who 
was  exactly  the  type.  He  ordered  the  chauf- 
feur to  stop,  flew  out  of  the  car,  dashed  up  to 
him  and  began  to  explain  the  situation. 

The  old  man,  ignoring  mention  of  salary  and 
promises  of  fame,  looked  the  director  firmly  in 
the  eye  and  said:  "Young  man,  there's  not  a 
chance.  At  my  age  I  wouldn't  take  any  such 
chance  as  going  into  the  movies.    No,  sir." 

And  he  wouldn't,  either.  At  present  it  seems 
possible  that  McGlynn,  who  created  the  role  of 
Abraham  Lincoln  on  the  stage,  may  come  west 
to  play  the  part. 

THERE  may  be  doubts  in  some  quarters 
that  motion  pictures  are  growing  better, 
but  they  are  certainly  growing  bigger.  Gold- 
wyn  is  building  at  Culver  City  what  is  said  to 
be  the  world's  largest  motion  picture  stage. 
The  structure  covers  a  city  block,  being  ap- 
proximately 300  feet  long  and  175  feet  wide. 
It  will  hold  fifty  sets  at  the  same  time.  It 
covers  52  500  square  feet,  more  than  an  acre 
of  ground. 

WILLIAM  S.  HART  is  to  return  to  the 
screen  immediately  in  an  original  story 
of  his  own,  to  be  made  for  Pan-mount.  He  is 
to  start  work  at  once  on  the  Lasky  lot,  and  is  to 
make  a  series  of  westerns  for  that  organization. 
Cliff  Smith,  who  made  his  first  big  screen  suc- 
cesses, is  to  direct  him  again. 

SOME  interesting  experiments  as  to  the  effect 
of  color  on  the  aesthetic  soul  of  a  dancer  has 
been  made  by  Ernest  Belcher,  a  California 
ballet  master.  He  has  found  that  different 
colors  affect  dancers  in  different  ways.  He 
noticed  one  day  that  one  of  his  girls  seemed 
rather  listless  in  a  dance  in  which  she  wore  a 
gray  costume.  He  changed  the  dress  to  one  of 
purple  and  discovered  that  she  put  much  more 
expression  into  her  work. 

He  determined  to  study  the  subject  with 
groups  of  dancers  and  arranged  a  class  of 
twelve.    In  the  gray  dresses  they  went  through 


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93 


their  steps  in  a  perfunctory  manner,  but  when 
garbed  in  bright  blue  or  vivid  purple,  they  dis- 
played more  activity,  had  more  expression  and 
a  more  joyful  attitude.  With  bright  red  the 
change  was  even  more  apparent. 

He  continued  his  experiments  with  many 
colors.  He  found  yellow  to  be  the  coldest.  The 
warmest  was  maroon  red,  with  royal  purple 
second  and  Italian  blue  third.  He  found  that 
the  last  shade  brought  on  a  feeling  of  abandon. 
Black  aided  in  aesthetic  movement  but  mili- 
tated against  spontaneity. 

Well!    Well! 

THERE  really  are  some  states  in  which  Mr. 
Volstead  is  taken  seriously.  Out  in  Kansas 
the  State  Board  of  Picture  Censors  has  passed 
a  rule  barring  any  burlesque  of  prohibition 
from  any  film  shown  in  the  state.  This  includes 
everything,  even  the  news  reels  and  topics. 
Also,  all  scenes  of  parties  where  drinking  goes 
on  are  ordered  out,  unless  such  scenes  are  an 
essential  part  of  a  picture  dealing  with  the 
pre-Prohibition  period. 

BEBE  DANIELS  went  to  see  "The  Covered 
Wagon"  one  night  and,  as  the  audience  was 
filing  out,  heard  two  women  discussing  the  pic- 
ture. 

"It  is  the  finest  picture  I  have  ever  seen," 
said  one  of  them.    "Don't  you  think  so?" 

"Oh,  it's  all  right  if  you  like  to  see  a  lot  of 
wagons,"  replied  her  friend.  "I  don't  care  for 
that  sort  of  thing  myself." 

MOTION  pictures  may  come,  and  they  may 
go  again.  But  "The  Covered  Wagon" 
goes  on  forever.  They  say  that  it  is  to  be  kept 
until  after  school  opens,  in  the  fall,  at  the  Cri- 
terion, in  New  York.  And  that's  a  record  run 
for  any  picture.  When  school  opens,  it  is  plan- 
ned that  there  will  be  regular  parties,  from  all 
the  schools,  to  see  the  picture — because  of  its 
historical  value.  It  will  make  dates  around 
1849  very  much  easier  for  a  lot  of  kiddies  to 
remember. 

JANE  NOVAK'S  new  picture  will  be  called 
J  "The  Lullaby."  And  it  is  rumored  that,  in 
it,  she  will  continue  to  wear  pretty  frocks  and 
lovely  wraps  and  Paris-built  hats  and  shoes. 
Jane  has  evidently  struck — has  without  doubt 
broken  definitely  away  from  the  type  of  story 
in  which  she  was  ill-treated — and  ill-dressed, 
as  well.  Jane,  with  her  wistful  gaze,  will  always 
— beyond  a  doubt — be  forced  to  play  the  type 
of  heroine  who  is  done  out  of  everything  that 
life  holds  most  dear  for  her.  But  since  "Thel- 
ma"  she  has  insisted  on  getting  a  square  deal 
in  the  clothes  line.  No  more  mackinaws,  no 
more  torn  ginghams  and  ragged  shoes.  Jane 
has  blossomed — and  intends  to  keep  right  on 
blooming. 

T  SAW  young  William  Collier,  Jr.,  with  Alice 
■*■  Lake  at  the  Club  Royale  the  other  night. 
Hollywood  says  it  is  a  real  romance.  Anyhow, 
both  are  doing  better  work  than  ever  before. 
Just  a  year  ago  Buster  was  chasing  the  pro- 
ducers, now  they're  chasing  him.  And  Alice, 
having  passed  from  stellar  mediocrity,  is  get- 
ting some  big  parts  that  have  inspired  her  to 
trouping. 

FANCY  a  beginner  passing  up  a  nice  contract 
because  she  didn't  want  to  have  her  time 
tied  up  for  three  years!  That's  what  Edith 
Allen,  the  Rex  Ingram  discovery,  has  gone  and 
done.  Ingram  cast  her  for  an  important  role  in 
"Scaramouche,"  and  she  proved  so  optically 
effective  that  Metro  offered  her  a  three-year 
contract.  Mr.  Ingram  advised  her  to  accept, 
pointing  out  that,  for  all  her  talent,  she  needed 
considerable  training.  But  no,  Edith  mis?cd 
her  Broadway,  and  to  Broadway  she  did  fly. 
Perhaps  she  will  come  back.  She  has  a  pair  of 
eyes  that  completely  stun  any  male  upon 
whom  they're  turned.  'Tis  said  they  rather 
favored  Ramon  Novarro.  Perhaps  that  is 
why  Ramon  is  dashing  off  to  New  York  for  a 
visit  as  soon  as  he  completes  "Scaramouche." 


State  Street,  the  centre  of  Chicago's  shopping  district,  a 
national  institution,  drawing  visitors  from  all  over  the  world. 

When  Chicago 

turned  out  the  lights 

To  save  coal  in  the  war,  Chi- 
cago turned  out  the  street 
lights  for  a  few  nights. 


Newspaper  headlines  tell  the 
rest  of  the  story. 

'Mayor's  Car  Stolen" said  one. 
"Chicago  Dark;  Bandits 
Busy"  said  another.  A  third: 
"Street  Lighting  Turned  Off 
To  Save  Coal;  Turned  On  To 
Save  People." 


Your  electric  light 
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with  a  General  Elec- 
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'Do -It 


Freckles  fade 

while  you  sleep 

No  other  beauty  treatment  is 
as  easy  and  effortless  as  remov- 
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Title  Reg.  U.  S.  Pat.  Ofl 
1THIS  is  YOUR  Department.  Jump  right  in  with  your  con- 
•*•  trihution.  What  have  you  seen,  in  the  past  month,  that 
was  stupid,  unlife  like,  ridiculous  or  merely  incongruous?  Do 
not  generalize;  confine  your  remarks  to  specific  instances  of  ab- 
surdities in  pictures  you  have  seen.  Your  observation  will  be 
listed  among  the  indictments  of  carelessness  on  the  part  of  the 
actor,  author  or  director. 


learn  to  Dance 
^thisNetvWay 

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the  step  as  shown  in  the  diagram 
there  is  no  reason  why  you   ^ 
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carefully  follow  Arthur  —  ■  ™ 

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antees  your  Bucecna.  And 
once  you  have  t tie  Murray 
foundation  to  your  dancing 
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U»  any  new  »tepa  that  may  be 

FIVE  DANCING 
LESSONS  FREE 


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liirray's  new  and  unique 
method*  he  will  send  you  a 
lesion  in  the  Fox  Trot,  Se- 
cret of  Loading.  How  to  Gain 
Confidence.  How  to  Follow. 
How  to  Avoid  Embarrass- 
ing Mistakes.  To  pay  cost 
of  printing  and  mailing  en- 
close 2.1c.  After  you  have 
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last  you  have  found  a  real 
easy  way  to  become  a  per- 
fect dancer.  V.  ■ 
triiti  offer  may  Boon  bf  frith" 
drawn. 


FIRST  PART  OF 
FORWARD  WALTZ 


ARTHUR  MURRAY 

Studio  828,  290  Broadway,  New  York 


Simply  Follow  These 
Footsteps 


C>  ft 

r 


WRIGLEY  GUM,  NO  DOUBT! 
TN  "  East  Is  West,"  Miss  Talmadge  and  the 
-•-young  man  become  entangled  in  a  horrible 
gooey  mess  of  chewing  gum.  A  few  dabs  of 
his  handkerchief  and  she  sits  down  to  play 
Iter  little  Chinese  instrument,  her  hands  ap- 
parently clean.  Anybody  whose  hands  have 
come  in  contact  with  that  amount  of  chewing 
gum  knows  what  a  discrepancy  that  was. 

Doris  Fox,  Milwaukee,  Wisconsin. 

A  MOVING  PICTURE 
TN  "The  Love  Letter,"  starring  Gladys 
■^Walton,  Red  Mike  tears  the  picture  of 
Gladys'  admirer  in  half  and  throws  it  on  the 
floor.  When  she  picks  it  up,  it  is  perfectly 
whole.  Then  later,  in  her  room,  she  is  seen 
looking  at  the  picture  and  it  is  torn  in  half. 
Dixie  Harlan,  Council  Bluffs,  Iowa. 

MA  YBE  SHE  COULDN'T  READ 

I  WANT  to  correct  a  criticism  that  I  read  in 
the  May  issue  of  Photoplay  by  Alicia  King 
of  Atlantic  City.  I  am  a  moving  picture 
operator  and  have  just  completed  a  three  day 
run  of  "The  Kentucky  Derby,"  and  I've  seen 
the  picture  enough  to  know  that  there  are  two 
titles  that  state  the  change  of  time,  and  both 
titles  appear  before  we  see  the  golden-haired 
baby  of  about  three  or  four  years  of  age.  I'm 
sure  that  Miss  King  must  have  been  enjoying 
a  good  sound  sleep  when  those  titles  were 
flashed  on  the  screen. 
Bradley  M.  Mason,  Lewistown,  Montana. 

HOW  COME— THREE  FINGERS?  _ 

IN  the  picture  "Environment,"  with  Alice 
Lake  and  Milton  Sills,  I  saw  the  following 
error.  Down  on  the  farm  at  MacLarcn's  the 
frisky  calf  drags  Sal  on  the  ground  for  quite  a 
distance.  When  she  is  picked  up  by  Steve  the 
skin  on  three  of  her  fingers  is  badly  lacerated, 
but  later  on  that  same  evening,  when  she  is 
seen  talking  to  Steve  at  the  window,  her  fingers 
are  perfectly  healed,  yet  the  next  morning  she 
has  the  same  three  fingers  all  bandaged  up. 
Mrs.  George  G.  Fairchild,  Maywood,  111. 

JAZZING  ALABAMA 

IN  "The  Marriage  Chance, "we  find  a  select 
school  for  young  ladies  at  Auburn,  Alabama. 
Pardon  me,  but  it's  a  boy's  school  of  agri- 
culture! I'm  from  Alabama  and  I  know. 
And  allow  me  to  say  that  we  don't  wear  semi- 
evening  frocks  in  the  early  morning  in  Ala- 
bama as  Eleanor  did. 

Laura  Coleman,  Selma,  Alabama. 

FRESH  EVERY  HOUR! 
TN  "Grumpy,"  the  gardenia  which  figured 
^■rather  prominently  in  the  story  was  picked 
one  evening.  The  next  night,  at  least  twenty- 
four  hours  later,  it  was  still  on  the  scene,  and 
still  as  fresh  and  unwilted  as  ever. 

Nellie  Sherman,  Indianapolis,  Ind. 

NEW  BUTLERS  HAPPEN  EVERY  DAY 

IN  "Adam's  Rib,"  we  are  informed  by  a  title 
that  Marian  has  been  entertaining  Jaromir 
at  tea  every  day.  However  a  few  moments 
later  after  her  husband  enters,  the  butler  arrives 
with  tea  and  recognizes  Jaromir  as  his  king. 
Is  it  possible  that  he  could  have  been  serving 
tea  on  the  previous  occasions  and  admitted 
Jaromir  to  the  house  and  not  recognized  him 
until  this  opportune  moment? 

Jean  Ward,  Eugene,  Oregon. 


MA  YBE  THE  PUMPS  GOT  WET 
T\7HEN  Alice  Terry  and  Ramon  Novarro 
W  are  descending  the  treacherous  falls  in 
"Where  the  Pavement  Ends,"  Alice  changes 
her  footwear  several  times.  First  she  is 
wearing  black  pumps,  then  in  the  next  scene 
she  has  on  white  sport  oxfords  and  when  they 
reach  the  foot  of  the  falls,  she  is  wearing  the 
black  pumps  again. 

Max  C.  Klingporn,  Rochester,  Minn. 

A  SLEEP-WALKING  CHRISTIAN 
YX7TIY  don't  they  do  a  little  hard  thinking 
*Y  about  the  details  in  pictures?  In  "The 
Christian,  "when  the  hero  is  going  through  his 
great  struggle  with  himself  in  his  room  in  the 
monastery,  he  throws  himself  on  his  bed  and 
there  spends  sleepless  hours.  We  see  him 
awaken  in  the  morning  in  the  middle  of  the 
stone  floor  of  the  room  with  the  table,  chairs, 
etc.,  very  much  strewn  about,  but  the  bed  is 
now  all  smoothed  up,  the  pillows  as  fluffed  and 
smooth  as  if  never  touched. 

L.  Loveday,  New  Haven,  Conn. 

YOUTH  MUST  HAVE  MAKE-UP 
TN  Shirley  Mason's.  "Youth  Must  Have 
-M-ove,"  a  close-up  was  shown  while  she  was 
in  swimming  and  she  had  on  no  make-UD.  A 
short  while  afterwards  when  she  ran  to  pick 
up  the  man  who  had  fallen  from  his  horse, 
another  close-up  was  shown.  This  time  (and 
she  had  just  come  out  of  the  water)  her  hair 
was  curled,  her  face  powdered,  and  she  had 
her  eyelashes  made  up. 

Jean,  Armore,  Oklahoma. 

POST  IMPRESSIONS 
TN  "The  Isle  of  Lost  Ships,"  Milton  Sills  is 
Lshown  handcuffed  to  the  lower  berth  post. 
The  detective  leaves  the  room  and  locks  the 
door  after  him,  but  the  next  time  he  goes  into 
the  room,  Milton  is  lying  in  the  upper  berth 
with  his  hands  (still  handcuffed)  above  his 
head.  How  did  he  get  away  from  the  post? 
R.  A.  P.,  Roanoke,  Virginia. 

THE  GARMENTS  OF  VIRTUE 
YX  THY  in  "The  Dangerous  Age,"  although 
**  John's  home  was  almost  a  palace,  did  he 
apparently  have  to  wear  patched  underwear? 
And  from  observation  had  so  few  suits  that, 
although  he  only  intended  staying  in  New 
York  a  short  while,  Mary  had  to  darn  the  other 
suit. 

M.  N.  B.,  Tampa,  Fla. 

MAYBE  HE  WAS  A  GOOD  SCOUT 

SOME  of  the  men  who  direct  pictures  con- 
taining (white)  Indians,  should  learn  some- 
thing of  the  Redman's  ways  and  dress.  In  one 
picture  I  saw  an  Indian  sitting  on  a  rock,  in 
plain  sight,  wearing  a  chief's  full  headdress  and 
wrapped  in  a  blanket.  He  was  also  smoking 
a  pipe.  And  was  supposed  to  be  a  scout!  I 
wonder  what  tribe  he  came  from.  In  another 
picture  a  band  of  warring  Indians  came  rushing 
over  a  hill.  They  were  all  chiefs,  according 
to  their  dress.  I  wonder  if  that  was  a  chiefs' 
convention? 

Carl  H.  Mothes,  Manchester,  N.  H. 

A  NE'ER-DO-WELL  TRAIN 

IN  "The  Ne'er  -  Do  -  Well,"  when  Tommy 
Meighan  is  a  conductor  on  the  Panama  Rail- 
road line,  he  is  standing  on  the  platform  of  the 
last  car  and  the  train  is  going  backwards  carry- 
ing passengers. 

L.  A.,  Hartford,  Con" 


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Photoplay  Magazine — Advertising  Section 


Temperament?  Pshaw! 

[  CONTINUED  FROM  PAGE  63  ] 

briefly.  "That's  the  only  thing  that  type  un- 
derstands. You  can't  reason  with  'em.  If  you 
try,  they  think  they're  important." 

"But  a  great,  strong  man  like  you  wouldn't 
be  rough  with  a  woman,"  was  suggested. 
"Wouldn't  I?"  he  replied.  "Huh!" 
If  Mr.  Dwan  should  put  his  brute  force 
theory  into  effect  with  male  stars,  he  never 
would  have  much  trouble.  For,  be  it  known, 
he  is  perhaps  the  strongest  man  in  pictures;  at 
least,  he  is  the  strongest  director.  He  has  been 
an  athlete  of  renown  since  his  college  days  and 
he  is  always  in  training.  It  is  a  common  thing 
for  him  to  push  a  couple  of  studio  huskies, 
grunting  over  a  piece  of  scenery,  out  of  the 
way  and  swing  the  heavy  piece  into  place  him- 
self. And,  if  you  don't  believe  he's  strong, 
ask  Jack  Dempsey.  He  knows.  But  that,  as 
Mr.  Kipling  says,  is  another  story. 


The  Shadow  Stage 

[  CONTINUED  FROM  PAGE  67  ] 

SHORT  SUBJECTS— Educational 

A  PROGRAM  of  one  and  two-reel  novelties, 
arranged  for  the  jaded  Summer  audience, 
is  both  instructive  and  interesting.  It  consists 
of  "Kinograms";  "From  the  Windows  of  My 
House,"  a  charming  Bruce  scenic;  "Speed 
Demons,"  a  Lyman  Howe  mixture  of  sense  and 
non-sense;  a  demonstration  of  "  Golf,  as  played 
by  Gene  Sarazen";  a  black-face  Christie  Com- 
edy, called  "Roll  Along";  and  an  uproariously 
funny  Mermaid  Comedy,  called  "Backfire." 
Although  all  of  these  subjects  have  been  re- 
leased separately,  the  idea  of  grouping  them  is 
a  good  one  and  makes  an  interesting  entertain- 
ment that  does  not  drag. 

WOMAN  WITH  FOUR  FACES— 
Paramount 

THIS  is  a  lively  melodrama,  not  without  its 
measure  of  interest,  but  it  is  full  of  holes, 
i.  e.,  improbabilities  and  gaps  in  the  plot  which 
no  amount  of  skillful  direction  and  acting  can 
bridge  over.  Here  we  have  a  clever  and  versa- 
tile feminine  crook  employed  by  the  district 
attorney  to  capture  a  gang  of  crooks  engaged  in 
the  dope  traffic.  The  gal  is  very,  very  adroit. 
She  changes  disguises  and  faces  with  the  speed 
of  a  prohibition  agent.  Of  course,  she  is  suc- 
cessful and,  of  course,  the  prosecutor  collapses 
before  her  charm.  And  there  you  are!  The 
big  punch  of  the  picture — and  the  biggest 
blow  at  the  probabilities — is  the  escape  of  a 
convict  from  the  prison  yard  via  the  dangling 
rope  ladder  ol  an  aeroplane. 

THE  BROKEN  WING— 

Preferred  Pictures 

A  STORY  of  Mexico,  and  an  American 
aviator  who  crashes  through  the  roof  of  a 
rancho  and  almost  into  the  arms  of  a  very 
pretty  girl  who  has  been  violently  praying  for  a 
husband.  Said  aviator  is  hurt,  but  recovers, 
although  his  memory  is  lost  in  the  crash 
Which  doesn't  simplify  matters,  at  all — but 
does  help  the  scenario  writer!  The  whole 
thing  ends  with  a  very  tricky  escape  in  the 
mended  aeroplane. 

THE  LOVE  PIKER— 
Cosmopolitan-Goldwyn 

""THE  old  story  of  the  rich  girl  who  falls  in  love 
■*-  with  her  father's  young  engineer,  with  a  few 
variations.  Anita  Stewart  comes  back  to  the 
screen  after  a  long  absence,  but  she  is  not  our 
old  Anita.  She  seems  more  sophisticated,  but 
under  the  direction  of  E.  Mason  Hopper  she  is 
more  emotional  than  of  yore.  Frank  R.  Adams 
wrote  the  story  and  Mr.  Hopper  has  done  well 
with  the  material  offered. 


95 


A  new  use  for  an 
old  friend 

Many  users  of  Listerine  have  never  discovered 
the  unusual  properties,  as  a  perspiration  deodorant, 
peculiar  to  this  well-known  antiseptic. 

Many  times  you  don't  have  access  to — or  time 
for — a  tub  or  shower.  Yet  so  often  your  fastidi- 
ous inclinations  will  not  permit  you  to  be  comfort- 
able in  going  out  without  considering  these  things. 
Right  there  Listerine  steps  in  as  a  friend  in  need. 
You  simply  apply  this  dependable  antiseptic  with 
a  towel  or  wash  cloth.  Note  how  delightful  and 
exhilarating  the  effect  really  is. 

It  is  an  interesting  thing  that  this  scientific 
preparation  that  has  been  used  for  so  many  years 
as  a  surgical  dressing  should  possess  these  remark- 
able properties  as  a  deodorant. 

Moreover,  it  is  absolutely  safe.  It  will  not  irritate 
the  most  sensitive  skin  nor  injure  the  most  fragile 
fabric.  You  will  be  delighted  with  this  new  use. — 
Lambert   Pharmacal   Companv,   St.   Louis,   U.S.A. 


HALITOSIS 


use 
LISTERINE 


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96 


Qasty^ 


Wintergreen- 
that  appealing 
enticing  flavor 
—a  taste  that 
lingers  on  and 
on— its  use  is 

ra  sensible; 
hxihi^ 


Quiets  the  nerves 


Photoplay  Magazine — Advertising  Section 

YOUTHFUL  CHEATERS— Hodkinson 

CONFLICT  between  "high  ideals  and  high- 
balls" is  the  basis  of  this  seven-reel  melo- 
drama. It  is  the  story  of  the  country  youth 
jazzing  headily  at  a  city  pace  to  his  destruc- 
tion. But  this  youth  comes  from  a  schooner 
of  which  his  father  is  skipper.  The  young  man 
is  rescued  by  his  father.  A  "new  member  of 
the  crew"  is  signed.  The  best  element  of  it  is 
Glenn  Hunter's  effective  acting. 


it 


BEEMAI 

>sin  Gum 


American  Chicle  Co. 


The  Stockingless  Vogue 

Women  who  love  swimming  forthe  sake 
of  the  sport, find  stockings  a  great  hin- 
drance to  their  enjoyment.  Hence  the  stock- 
ingless vogue  you  notice  almost  everywhere. 

X-Bazin — the  century-tested  French  depilatory 
— enables  a  woman  to  bathe  6tockingless  without 
self-consciousness.  It  makes  her  skin  as  smooth 
and  white  and  lovely  as  sculptured  marble! 

X-Bazin  is  entirely  safe  and  utterly  painless  to 
use.  It  does  not  injure  the  most  delicate  skin. 
Sold     with    a  "money-back"   guarantee   at    all 
drug  and  department  stores.    50c  and  $1  in  the 
United  States.    Elsewher  ,  75c  and  $1.50. 
Manufactured  by  Hall  &  Ruckei,  Inc. 
Makers  of  Sozodont 
Send  10c  for  sample  and  descriptive  booklet 

GEO.BORGFEL.DT&CO. .SoleDistributors 

In  the  United  States  and  Canada 
Dept.B,i6th  Street  and  Irving  Place, New  York 

X-BAZIN 

c)he  French  way  to  remove*  hair 


WHERE  IS  MY  WANDERING  BOY 
THIS  EVENING?— United  Artists 

"D  EN  TURPIN'S  actions  become  as  erratic  as 
-'-'his  eyes.  As  the  very  good  son  of  a  cross- 
eyed mother,  he  falls  victim  to  the  wiles  of  a 
vampire  in  a  tight  satin  dress.  The  lady  lures 
him  to  a  lonely  cabin  where,  with  the  aid  of  a 
thunder  storm,  she  manages  to  keep  him  all 
night.  As  a  result  he  is  compromised — and  so 
is  the  plot! 

DAUGHTERS  OF  THE  RICH— 
Preferred 

A  STORY  of  an  American  heiress  forced  by 
■**-her  mother  to  marry  a  degenerate  Russian 
duke.  The  duchess,  to  win  an  American  whom 
she  loves,  tricks  him  into  believing  his  fiancee 
unworthy  and,  when  she  is  found  out,  commits 
suicide.  The  twists  make  the  story  interest- 
ing, but  the  picture  lacks  punch.  Most  of  the 
settings  are  good,  one  long  shot  of  a  duel  being 
especially  interesting.  Stuart  Holmes  makes 
the  duke  a  painful  caricature.  Gaston  Glass 
and  Ruth  Clifford  have  the  acting  honors. 

THE  CUCKOO'S  SECRET— Bray 

THEY  say  that  it  took  ten  years  to  photo- 
graph this  English-made  novelty.    And  the 
statement  is  easy  to  believe,  for  the  story  of 


the  world's  laziest  and  most  selfish  bird  is  un- 
folded in  all  detail.  Some  of  the  close-ups  are 
a  joy,  indeed — especially  those  of  the  wee  tit- 
lark who  is  the  cuckoo's  foster  mother.  A 
rare  treat  for  Audubon  societies — and  all 
others! 

THE  DAYS  OF  DANIEL  BOONE— 
Universal 

A  SERIAL  that  could  well  be  incorporated 
-**-into  the  class  work  of  every  school  child, 
so  real  is  its  historical  note.  There  is  plenty 
of  excitement;  a  generous  allotment  of  red- 
blooded  adventure.  And  the  characters  seem 
surprisingly  genuine.  Certainly  Universal 
serials  are  the  best  that  are  being  made — they 
combine  educational  value  with  intense  inter- 
est.    Well  worth  following. 

RED  RUSSIA  REVEALED— Fox 

TJTALF  scenic  and  half  educational;  showing 
-*■  •'-mostly  the  heads  of  Soviet  Russia  in  ac- 
tion. These  leading  citizens  are  a  revolting 
group — fanatics,  butchers,  brilliant  egotists 
and  morons.  Not  one  normal  person  among 
the  lot  of  them,  which  makes  the  future  of  the 
country  a  pitiful  one,  indeed.  In  the  pictured 
faces  can  be  read  hatred,  bitterness  and  disas- 
ter. Madame  Lenine  presents  the  most  sinister 
visage  of  them  all. 

ITCHING  PALMS— F.  B.  O. 

A  HODGE-PODGE  of  unnecessary  comedy, 
-'"-forced  humor  and  melodrama.  All  draped, 
none  too  gracefully,  around  a  plot  that  is  quite 
unable  to  stand  by  itself.  Stolen  money  that 
the  innocent  victim  has  hidden  away,  and  a 
whole  flock  of  people  who  are  hunting  it — in- 
cluding a  secret  service  agent  disguised  as  an 
idiot.  The  rest  of  the  cast  are  not  disguised. 
A  stupid  story,  badly  told. 


The  Studio  Secret 

[  CONTINUED  FROM  PAGE  57  ] 


from  Mr.  Porter — "  "Porter!"  Romain 
started.    His  voice  snapped  like  a  whip. 

"Yes.  Some  man  in  Los  Angeles.  Arthur 
went  to  see  him.  I  had  nothing  to  do  with  it. 
He  didn't  know  of  my  arrangement  with  Mr. 
Watrous,  then.  I  told  him  tonight,  for  the 
first  time — had  to,  to  get  this  paper  away  from 
him.  It  was  Helen  Kramer  who  sent  him. 
Arthur  saw  Porter  at  his  hotel  in  Los  Angeles 
last  night — threatened  him — made  him  con- 
fess—  " 

"  But — how?  "  Romain  interrupted,  a  queer 
light  in  his  eyes. 

"I  don't  know — exactly.  Arthur  said  some- 
thing about  Mrs.  Kramer  having  seen  a  man 
go  into  your  house,  that  night — the  night  your 
wife  was  shot.  It  was  Porter,  she  said.  At 
least,  she  saw  somebody,  and  figured  out  it  was 
Porter.  I  don't  know  how.  She  is  a  strange 
woman.  But  she  must  have  been  right,  for 
Arthur  got  a  confession  from  him.  It  seems 
that  Helen  threatened  to  go  to  the  police  with 
her  story,  if  he  refused  to  tell  the  truth — make 
a  sworn  statement.  It  was  to  be  used  private- 
ly, by  Mrs.  Kramer.  I  don't  know  what  she 
meant  to  do  with  it.  But  Arthur  didn't  give  it 
to  her,  as  he  was  supposed  to  do.  He  brought 
it  to  me — tried  to  make  me  promise  I'd  marry 
him  at  once.  I  couldn't.  I  don't  love  him. 
But  I  managed  to  get  the  confession  from  him. 
I  had  to.  Here  it  is."  She  held  the  crumpled 
sheets  out  to  Romain. 

He  took  them,  his  eyes  very  bright  and  eager. 

"Have  you  read  this?"  he  asked. 

"Yes." 

"Do  you  believe  it?" 

"No.  I  don't  believe  you  ever  did  a  mean 
or  cowardly  thing  in  your  life.    You  couldn't." 

"Mydear — mydear."  Helaid  his  hand  upon 
her  head,  bent  down  toward  her. 

"No — don't — please  don't — not  now.  Read 
that  paper." 

"It  isn't  necessary,"  he  said,  glancing  at  the 
closely-written  pages.     "I  know  what  hap- 


pened.   I  was  there."    "Then — why — why — " 
"Why  did  I  swear  to  a  lie?     Why  did  I  say 

I  was  with  Margot  Gresham?    To  save  my 

wife's  good  name.    That  was  the  reason — the 

only  one." 

"  I  knew  it,"  Joy  said  quickly.    "I  knew  you 

couldn't  have  done  anything  wrong."    There 

were  tears  in  her  eyes,  now,  but  they  were  tears 

of  gladness,  not  sorrow. 

ROMAIN  stared  at  the  sheets  of  paper  in  his 
hand.  He  seemed  to  be  fighting  some 
powerful  emotion. 

"Joy,"  he  said  at  length,  "Margot  is  a  fine, 
a  splendid  girl.  She  did  a  great  deal  for  me, 
that  night.  Not  many  women  would  have 
sacrificed  themselves,  as  she  did.  She  swore 
that  I  was  with  her,  at  her  bungalow,  until  two 
o'clock  in  the  morning.  I've  never  forgotten 
it — I  never  shall." 

"I  know — I  know.  That's  why  you've  got 
to  stand  by  her — because  she  stood  by  you. 
I'm  sorry  for  the  things  I  said  to  you  in  my 
dressing  room  the  other  day.  I  was  wrong. 
You  owe  it  to  her." 

"Yes.  I've  felt  that — always.  But  when  I 
told  you,  that  time  in  your  room,  that  I  loved 
you,  it  was  true." 

"No— Oh  no!" 

"It  was  true.  Absolutely.  I  thought  I 
loved  Margot,  but  I  didn't — not  the  way  I  do 
you.  You  see,  I  felt  that  I  owed  her  every- 
thing. I  admired  her  courage  in  standing  by 
me.  And  I  knew  that  she  loved  me.  Do  you 
wonder  that  I  couldn't  bring  myself  to — to 
desert  her?  " 

"No— no!  You  did  exactly  right.  Exactly." 
Her  words  were  brave  enough,  but  there  was 
a  great  aching  pain  in  her  heart. 

Romain  threw  himself  into  a  chair,  the  sheets 
of  paper  containing  Porter's  confession  in  his 
hands. 

"Joy,"  he  said,  "I'm  going  to  read  this  to 
you.    And  then  I'm  going  to  tell  you  what 


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really  happened,  if  I  find  thi^  man  Porter  has 
failed  to  do  so.  I  think  you  ought  to  know." 
He  leaned  toward  the  light,  began  to  read. 
Joy  sat  bolt  upright  in  her  chair. 

"T  RAY  PORTER,  of  Los  Angeles,  make  this 
*■,  true  statement  of  what  happened  at  Jean 
Romain's  house  in  Hollywood  on  the  night  of 
March  23rd,  1922.  I  was  in  my  rooms  at  the 
hotel.  I  had  just  finished  dinner.  Mrs.  Ro- 
main  called  me  up.  I  had  been  waiting  for  her 
to  call.  She  said  that  her  husband  had  gone 
out — that  he  would  not  be  back  until  mid- 
night, or  later.  She  asked  me  to  drive  out  and 
see  her.  She  said  she  had  given  the  sen-ants 
a  night  off — that  we  would  be  alone.  I  got 
into  my  car  and  drove  out.  I  reached  Holly- 
wood about  nine  o'clock.  I  didn't  like  to  leave 
the  car  in  front  of  Romain's  house,  for  fear 
someone  might  see  it,  so  I  stopped  about  a 
block  down  the  street,  in  front  of  a  vacant  lot. 
It  was  a  nasty  night,  w-et  and  foggy.  As  I  got 
to  Romain's  entrance,  I  saw  a  woman  coming 
along  the  street  about  a  hundred  feet  away, 
but  I  didn't  pay  any  attention  to  her.  She 
couldn't  have  seen  my  face,  at  that  distance, 
because  of  the  fog,  and  a  moment  later  my 
back  was  turned,  going  up  the  walk  to  the 
house.  Mrs.  Romain  let  me  in.  She  was  a 
charming  woman  and  I  was  very  fond  of  her. 
We  went  into  the  living  room  and  put  on  a  low 
light.  Mrs.  Romain  wore  a  negligee,  made  of 
some  pink  stuff.  We  sat  on  the  couch.  She 
kissed  me,  and  we  made  love  to  each  other. 
She  wanted  me  to  run  away  with  her,  take  her 
to  Japan.  We  were  alone,  there,  for  about  an 
hour.  Then  we  heard  someone  at  the  door. 
We'd  been  too  occupied  with  each  other  to  hear 
footsteps  on  the  cement  walk.  Anyway,  the 
door  suddenly  opened  and  Romain  came  in. 
He  was  in  the  hall.  I  jumped  up,  and  so  did 
Mrs.  Romain.  We  were  both  terribly  scared. 
Things  looked  pretty  black.  She  tried  to  ar- 
range her  hair,  to  pull  herself  together,  and  so 
did  I.  Then  Romain  came  in.  He  was  white 
as  a  sheet,  and  said  he  ought  to  kill  me.  I 
thought  he  was  going  to,  the  way  he  looked. 
His  wife,  I  guess,  thought  so  too,  for  she  pulled 
open  the  drawer  of  the  library  table  and  took 
out  an  automatic.  'Here,  Ray,'  she  said,  and 
shoved  it  into  my  hand. 

"Romain's  face  got  black,  at  that,  and  he 
came  for  me.  I  didn't  try  to  shoot  him.  Had 
no  idea  of  it.  He  had  the  goods  on  me,  of 
course,  but  I  don't  believe  in  murder.  I  just 
resisted  him  the  best  I  could.  He  is  a  bigger 
man  than  I  am,  and  he  got  hold  of  the  pistol 
and  was  taking  it  away  from  me.  Then  Mrs. 
Romain  jumped  in.  She  was  like  a  cat.  She 
grabbed  the  pistol,  which  was  partly  in  my 
hand,  and  partly  in  his,  and  tried  to  turn  it 
around  against  his  breast.  'Pull  the  trigger, 
Ray,'  she  said,  'when  I  tell  you.'  When  she 
said  that,  I  let  go  of  the  pistol  at  once,  and 
tried  to  keep  Romain  from  choking  me.  He 
had  me  by  the  throat,  with  one  hand,  and  the 
pistol  was  in  the  other.  Then  I  heard  a  shot 
and  saw  Mrs.  Romain  slide  to  the  floor.  She 
never  said  a  word — never  moved.  Just  lay 
there,  with  a  big  red  spot  growing  on  her  night- 
dress. Romain  stood  still,  waiting,  and  so  did 
I.  I  couldn't  swear  who  pulled  the  trigger,  but 
I  know  it  wasn't  I.  We  both  stood  there  with- 
out speaking  for  several  minutes.  I  leaned 
against  the  table.  I  was  shaking  all  over.  Ro- 
main felt  his  wife's  heart.  He  didn't  say  any- 
thing, but  from  the  expression  of  his  face  I 
knew  she  was  dead.  There  wasn't  any  use 
calling  a  doctor — she  must  have  died  instantly. 
We  waited,  thinking  someone  might  have 
heard  the  shot  and  would  come  in.  But  no 
one  did. 

"I  saw  that  Romain  was  thinking — trying  to 
make  up  his  mind  what  to  do.  After  a  while 
he  turned  to  me.  'I  ought  to  kill  you,  you 
contemptible  whelp!'  he  said.  'You  deserve 
it.  But  I'm  not  a  murderer.  And  if  I  turn 
you  over  to  the  police,  it  will  mean  a  dirty 
rcandal.  So,  to  save  my  wife's  good  name  I'm 
going  to  let  you  go.  Get  out!  And  keep  your 
mouth  shut.  If  you  don't,  I'll  do,  then,  what 
I  ought  to  do  now.'    He  picked  up  the  pistol 


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from  the  floor,  and  for  a  moment  I  thought  he 
was  going  to  shoot  me.  Then  he  shoved  the 
pistol  into  my  hands.  'Take  this,'  he  said. 
'Throw  it  away — where  no  one  will  find  it. 
Now  get  out! '  He  went  to  the  door  and  looked 
around.  The  fog  was  thicker.  There  wasn't 
anyone  in  sight.  I  sneaked  down  to  the  front 
gate,  covering  my  face  and  bending  over  so  as 
to  be  hidden  by  the  hedge  hushes.  Nobody 
saw  me.  I  went  down  the  street  to  my  car 
and  drove  back  to  the  hotel.  That's  all  I 
know.  But  I  did  not  kill  Mrs.  Romain,  and 
I  don't  believe  she  killed  herself,  because  she 
had  hold  of  the  muzzle  of  the  gun  and  couldn't 
have  pulled  the  trigger.  So  I  guess  he  did  it. 
"Raymond  Porter." 

ROMAIN  finished  reading  the  statement. 
His  face  had  grown  pale,  his  voice  harsh 
with  emotion.  Joy  stared  at  him  with  misty 
eyes. 

"He  hasn't  lied  much,"  he  said  quietly, 
"except  about  the  pistol.  He  pulled  the  trigger, 
as  Mrs.  Romain  told  him  to  do,  only  he  pulled 
it  too  soon,  and  killed  her,  instead  of  me.  But 
of  course  his  word  is  as  good  as  mine.  I'm 
sorry,  now,  I  didn't  shoot  him  on  the  spot." 

"Oh  no!"  Joy  leaned  forward  eagerly. 
"You  did  the  right  thing — the  only  thing." 

"I  was  thinking  of  her,"  Romain  went  on. 
"It  seemed  horrible  to  me,  to  think  of  her 
name  being  brought  up  in  court,  with  me  com- 
ing home  and  finding  her  in  another  man's 
arms.  She  wasn't  a  good  woman,  I'm  afraid. 
She  was  weak — always.  But — she  was  my 
wife,  and  she  had  some  people  back  in  St. 
Louis — decent  people,  who  would  have  had  to 
suffer.     So  I  let  him  go. 

"  There  wasn't  anyone  around.  No  evidence 
to  connect  either  him  or  me  with  the  affair. 
No  footprints,  on  the  cement  walk — anything. 
I  left  the  front  door  ajar  and  walked  back  to 
Miss  Gresham's.  I  told  her  what  had  hap- 
pened. She  was  fine.  There's  a  colored  woman — 
her  maid — she's  had  with  her  for  years — used 
to  be  her  nurse,  I  believe.  She  told  this 
woman  to  swear  I'd  never  left  the  house  all 
the  evening — had  been  there  from  eight  o'clock 
on.  You  see,  we  both  knew  that  I  would  be 
suspected.  I  had  been  going  about  with  Mar- 
got  a  good  deal,  after  my  wife  took  up  with 
Porter.  People  said,  after  her  death,  that  I 
killed  her  in  order  to  marry  Margot.  We  sat 
in  her  studio,  talking,  till  after  one.  Then  she 
sent  down  to  the  garage  for  her  chauffeur.  He 
slept  there.  She  had  him  come  into  the  studio 
where  we  were,  so  that  he  could  see  me,  and 
told  him  to  get  out  the  car  and  drive  me  home. 
She  said  I'd  hurt  my  knee  and  didn't  care  to 
walk,  which  was  true.  I  was  dazed,  after  the 
tragedy,  and  tripped  over  the  curbstone  in 
front  of  her  house.  Wasn't  looking  where  I 
was  going.  You  can  understand  how  I  felt — 
after  what  I  had  just  been  through. 

"Pretty  soon  the  chauffeur  brought  up  the 
car,  but  we  kept  him  waiting  until  nearly  two. 
Then  he  drove  me  back.  When  we  got  to  the 
house  I  told  him  that  on  account  of  the  rotten 
night,  and  his  being  waked  up,  I'd  give  him  a 
drink  if  he'd  come  in.  You  see,  I  wanted  him 
to  be  with  me,  when  I  found  the  body,  so  he 
could  testify.  I  pushed  open  the  door,  ex- 
pressing surprise  at  finding  it  ajar,  and  we  went 
inside.  No  one  had  been  there.  My  wife  lay 
just  as  I  had  left  her.  I  pretended  to  be  horri- 
fied, of  course,  and  made  the  chauffeur  wait 
while  I  called  up  the  police.  They  came  in  a 
few  minutes,  and  the  chauffeur  and  I  told  our 
story.  Margot  and  the  colored  maid  told  theirs 
the  next  day,  about  having  been  with  her  until 
two  o'clock.  The  doctor,  who  came  right  after 
the  police,  said  Mrs.  Romain  had  died  instant- 
ly, and  that  she  must  have  been  dead  two  or 
three  hours.  So  nothing  more  was  done.  The 
matter  remained  a  mystery.  The  newspapers 
blamed  it  on  a  tramp — a  thief — who  had  prob- 
ably been  scared  away.  I  thought  the  matter 
was  dead  and  buried  forever.  I  told  Porter  to 
keep  quiet,  and  I  supposed,  of  course,  he  would. 
But  I  didn't  know  about  Mrs.  Kramer.  If  she 
goes  to  the  police  with  this  story,  about  having 
seen  Porter  come  into  the  house  that  night,  the 


whole  rotten  business  will  have  to  be  aired  in 
court." 

"  Why?  "  Joy  asked.  "  She  couldn't  identi- 
fy him,  if  his  back  was  turned.  All  he  need  do 
is  deny  it.     Say  he  was  home  in  bed." 

"I  don't  know."  Romain  got  up,  began  to 
walk  to  and  fro  across  the  room.  "  I  ought  to 
see  him,  I  guess.  It  isn't  that  I'm  afraid,  Joy. 
I  haven't  anything  on  my  conscience.  I  didn't 
kill  my  wife.  I  can  swear  to  that.  It  must 
have  been  Porter.  She  wanted  him  to  kill 
me."  He  shuddered.  "But  as  I  have  said, 
his  word  is  as  good  as  mine.  I'm  ready  to  face 
the  music,  any  time,  but  I  can't  help  thinking 
of  the  stain  it  will  put  on  my  wife's  name.  Of 
her  family — her  people.  And  of  the  harm  it 
will  do  the  Royal — the  whole  picture  industry. 
And  last  of  all,  I  can't  help  thinking  of  Margot. 
If  this  thing  comes  out,  she  will  stand  con- 
victed of  perjury.  Or  worse.  They  might  hold 
her  as  an  accessory  after  the  fact.  God  knows 
I  wouldn't  want  anything  like  that  to  come 
to  her." 

"No.  It  mustn't."  Joy  rose.  "You  can 
keep  the  confession,  if  you  want  to.  Or  tear 
it  up.  I  promised  to  return  it  to  Arthur,  in  the 
morning,  but  while  I  usually  keep  my  prom- 
ises, that  is  one  I'm  going  to  break." 

Romain  went  up  to  her,  took  her  in  his  arms. 

"I've  told  you,  dear  girl,"  he  said  earnestly, 
"that  I  love  you.  I  don't  know  that  I  have 
any  right  to  tell  you  that,  but  I  can't  help  it. 
It's  true.  And  if  I  don't  marry  you,  I'm  not 
going  to  marry  anybody.    Do  you  believe  me?" 

Joy  was  very  tired,  very  worn  out.  The 
nervous  strain  of  the  evening  had  been  a  ter- 
rible one.  She  longed  desperately  for  the  arms 
of  the  man  she  loved — longed  to  feel  his  lips 
on  hers. 

"Yes,  I — I  believe  you,"  she  whispered. 

Romain  drew  her  very  close,  smoothed  back 
her  loosened  hair. 

"You're  the  loveliest — the  most  wonderful 
woman  in  the  world,  sweetheart,"  he  said. 
"You  had  it  in  your  power  to  take  me  away 
from  the  girl  I've  promised  to  marry,  and  you 
refused  to  do  it — even  to  gain  happiness  for 
yourself.  You  were  ready  to  sacrifice  your- 
self, for  me.  There  aren't  many  women  in  the 
world  like  that.  I  shall  never  forget  it — never. 
Oh — my  dear — my  dear — I  adore  you!" 

He  kissed  her  over  and  over,  holding  her 
close  in  his  arms.  Joy  knew  that  they  loved 
each  other,  honestly,  wholly,  irrevocably. 

AS  they  stood  there,  oblivious  to  all  about 
them,  a  sudden  knock  came  at  the  door. 
Romain  drew  back,  went  out  to  the  hall.  A 
moment  later  he  returned  with  Margot  Gresh- 
am.    She  was  pale  with  anger. 

"You!"  she  exclaimed,  staring  fiercely  at 
Joy.  "All  these  weeks  you've  made  a  fool  of 
me.  Now  I  know  the  truth."  She  turned  to 
Romain.  "I  got  back  tonight,  as  you  know. 
Helen  Kramer  telephoned  me  this  girl  was  here 
with  you.  I  didn't  believe  it.  I  came  to  find 
out.  What  I  saw  through  the  window,  just 
now,  proved  everything  that  Mrs.  Kramer  has 
claimed.  She  said  this  girl  and  you  were  mad 
about  each  other.  Now  I  know  it.  But  why 
do  your  love-making  in  front  of  an  open  win- 
dow? With  the  lights  burning?"  Her  voice 
was  bitter  with  irony. 

"Oh!"  Joy  exclaimed,  her  face  burning. 
"How  can  you?" 

Margot  took  no  notice  of  her.  She  stared  at 
Romain  indignantly. 

"Why  don't  you  tell  this  girl  to  go?"  ^he 
demanded. 

"I  can't,  Margot.  She  has  just  rendered 
both  you  and  me  a  great  service."  "How?" 

Romain  took  the  document  Joy  had  given 
him,  from  the  table. 

"Someone  got  Porter  to  confess,"  he  said. 
"Here  is  his  story,  in  black  and  white,  sworn 
to  before  a  notary.  Miss  Moran  managed  to 
get  hold  of  it,  and,  realizing  the  danger  it 
meant  to  both  of  us,  brought  it  to  me." 

"She  brought  it  to  you?"  Miss  Gresham's 
eyes  were  incredulous. 

"Yes.  She  might  have  made  use  of  it,  in  a 
certain  way  I  won't  go  into,  but  she  didn't. 


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She  might  have  used  it  to  break  things  up  be- 
tween you  and  me,  but  she  didn't.  All  she 
thought  of  was  to  save  us.  I,  for  one,  feel 
deeply  indebted  to  her." 

"And  to  show  your  gratitude,"  Margot 
Gresham  said  bitterly,  "you  proceeded  to  kiss 
her." 

"Yes."  Romain  reddened  under  the  hot 
sting  of  her  words.     "I  did  kis^  her." 

"Why?" 

"Because — because  I — " 

"Please  don't,"  Joy  whispered,  touching  hi^. 
arm.     "It  isn't  fair — to  her." 

"What  isn't  fair  to  me?"  Margot's  anger 
shook  her  until  her  voice  trembled.  "Do  you 
mean  that  he's  in  love  with  you,  but  that  you 
think  he  ought  to  marry  me,  because  he  hap- 
pens to  be  engaged  to  me? " 

Romain  went  up  to  her,  his  expression  one 
of  great  tenderness. 

"Margot,"  he  said,  "no  man  ever  had  a 
more  loyal  friend  than  you  have  been  to  me 
I  haven't  forgotten  what  you  did  for  me,  that 
night.  I  never  shall  forget  it.  And  I  swear  to 
you,  on  my  honor,  that  I  haven't  been  carrying 
on  any  love  affair  with  Miss  Moran,  behind 
your  back.  Even  if  I  had  tried  to,  she  wouldn't 
have  let  me.  But  there  are  some  things  that 
happen — that  come  into  our  lives — that  we 
can't  alter.  Such  a  thing  has  come  into  mine. 
I  love  Joy  Moran.  I  always  shall  love  her.  I 
meant  to  tell  you,  when  you  came  back — to 
ask  you  to  release  me  from  my  engagement. 
I'm  sorry  you  had  to  find  it  out — like  this. 
She  never  let  me  kiss  her  before — not  once, 
although  I'll  admit  I  tried.  And  when  I  took 
her  in  my  arms,  a  few  moments  ago,  I  did  it 
because  I  felt  so  deeply  what  she  had  just  done 
for  us — something  you  couldn't  possibly  ap- 
preciate— understand — without  knowing  all 
the  circumstances.  But  since  you  know,  now, 
how  matters  stand — since  you  know  that  we 
do  love  each  other — I  think  the  only  honorable 
thing  for  me  to  do  is  ask  you  to  release  me  from 
our  engagement." 

Margot  Gresham  slowly  drew  the  solitaire 
from  her  finger. 

"Yes.  That's  the  only  thing  to  do.  I  re- 
lease you."  She  tossed  the  ring  lightly  upon 
the  table.  "What  I  did  the  night  your  wife 
was  shot  isn't  of  any  importance.  I'd  have 
done  the  same  thing  for  any  friend.  And  I 
certainly  wouldn't  want  any  man  to  feel  he 
had  to  marry  me  out  of  gratitude.  I've  known 
for  some  time,  Jean,  that  you'd  stopped  caring 
for  me.  I  think  I  realized  it  first  that  night 
at  the  Club  Royale.  I  saw  it  in  your  eyes — in 
the  way  you  looked  at  Miss  Moran.  Well — 
I  hope  I'm  a  good  loser.  Dad  will  be  pleased, 
at  any  rate.  He's  spent  the  past  week  trying 
to  persuade  me  to  break  with  you.  That's 
what  he  got  me  to  Frisco  for — why  he's  here 
now.  I  wouldn't  listen  to  him,  but — I've  got 
to  listen  to  you.  Well" — she  gave  a  light 
laugh — "  the  only  thing  to  do  is  be  a  good  sport, 
and  take  things  as  they  come."  She  thrust  out 
her  hand.    " Miss  Moran,  I  congratulate  you." 

Joy  took  Miss  Gresham's  hand  in  hers. 
There  was  something  fine,  something  noble,  in 
the  way  the  girl  had  met  the  situation.  Tears 
came  to  her  eyes. 

"I — I'm  sorry,"  she  said. 

"  Oh,  no — don't  be  sorry.  You  two  love  each 
other.  Make  the  most  of  it.  Life  is  just  a 
gamble,  at  best.  We  can't  all  of  us  win. 
Good  bye,  Jean."  She  pressed  his  hand  firmly, 
;;-.  a  man  might  have  pressed  it.  "And  good 
luck.     Guess  I'll  be  moving  along." 

Romain  went  with  her  to  the  door.  She 
would  not  permit  him  to  help  her  into  her  car. 

"It's  the  end,  Jean,"  she  said.  "Right  here. 
Xot  a  step  further,  or  I  might  burst  into  tears 
or  something.  So  long."  She  raised  her  arm 
i.i  a  gesture  of  farewell  and  vanished  in  the 
darkness. 

CHAPTER  XXIV 

V\  THEN  Romain  came  back  into  the  room, 
W  he  found  Joy  standing  beside  the  table, 
staring  at  the  sheets  of  paper  containing  Mr. 
Porter's  confession.     He  went  up  to  her,  put 


99 


j\othing  betrays  a  woman's  age  so  surely  as  her  hands.  Old 
hands — worn,  neglected  looking  hands — can  utterly  contra' 
diet  the  youth  and  charm  of  her  face.  Don't  let  your  hands 
give  people  the  impression  that  you  are  older  than  you  look! 
You  can  have  lovely  hands — soft,  white,  youthful  looking — 
if  you  give  them  the  same  exquisite  care  you  give  your  face. 

If  you  want  your  hands  to  be 
beautiful— use  them! 


It  is  not  use  that  makes  an  ugly  hand 
— it  is  neglect.  Use  gives  them  character, 
individuality,  sensitiveness,until  they  are 
as  full  of  meaning  as  a  human  face. 

Don't  be  afraid  to  use  your  hands  in 
any  work  that  is  interesting  to  you.  But 
care  for  them  as  your  most  faithful 
servants.  Keep  them  in  perfect  condition 
— keep  them  smooth  and  supple,  as  an 
artist  or  a  surgeon  keeps  his  hands.  If 
you  give  them  the  right  care,  work  will 
never  disfigure  them. 

Today  thousands  of  women  have 
found  a  way  to  keep  their  hands  smooth 
and  white  as  they  go  about  their  house- 
hold tasks,  without  any  fear  that  house- 
work will  age  them  and  give  them  a 
rough  neglected  look.  They  use  Jergens 
Lotion  every  time  they  have  had  their  hands 
in  water.    By  following  this  simple  rule, 


they  have  found  that  you  can  give  your 
hands  hard  use,  and  yet  keep  them 
delicate  and  smooth  and  youthful — 
lovely  to  touch  or  look  at. 

Jergens  Lotion  is  a  medicinally  correct 
preparation  that  does  remarkable  things 
in  the  way  of  healing  any  roughness  or 
irritation  of  the  skin. 

Women  have  long  used  Jergens 
Lotion  for  their  face,  to  prevent  chap- 
ping or  sunburn  and  to  heal  any  rough- 
ness or  irritation.  Begin  today  to  give 
your  hands  the  same  care  that  you  give 
your  face— see  how  wonderfully  it  works! 

You  can  get  a  bottle  of  Jergens  Lotion  for  50 
cents  at  any  drug-store  or  toilet  goods  counter. 
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These  hands,  so  firm 
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"do-nothing"  hands 
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cares  for  them  in  the 
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his  arm  about  her  shoulders.  "Shall  I  drive 
you  home,  dear?''  he  said. 

Joy  did  not  stir.  She  did  not  raise  her  eyes 
from  the  closely-written  sheets. 

"I — I'm  afraid,"  she  whispered,  and  shiv- 
ered as  though  a  sudden  blast  of  icy  wind  had 
struck  her. 

"Afraid  of  what?" 

"Of  Helen  Kramer.  She  sent  Miss  Gresham 
here.  You  heard  Margot  say  so.  She  isn't 
going  to  stop  at  that." 

"  But — what  motive  can  she  have?" 

"You  dear  old  goose!"  Joy  patted  his  cheek 
tenderly.  "Don't  you  see  that  the  woman  is 
madly  in  love  with  you?  And  capable  of  any- 
thing, to  get  you?  She  sent  Arthur  after  this 
confession.  Why?  To  have  you  in  her  power. 
Now  that  he's  let  it  get  away  from  him,  don't 
you  think  her  very  first  move  will  be  to  try  to 
get  another?" 

"But — do  you  think  she  knows  that  Arthur 
gave  the  statement  to  you — yet?" 

"Certainly.     We  ought  to  act  at  once." 

"  You  mean,  see  Porter?" 

"Yes.     I  do.     Tonight." 

"  But — where  could  we  find  him?" 

"Jean,"  she  pronounced  the  name  tenderly 
— "you  certainly  were  never  cut  out  for  a 
detective.  At  his  hotel,  of  course.  There's  the 
name  of  it — the  address — on  the  paper  he 
used  for  his  confession.  Get  out  your  car. 
We've  got  to  drive  to  Los  Angeles." 

"Will  you  go  with  me?" 

"Certainly.  I  want  to  be  sure  that  every- 
thing's all  right — that  you  are  not  in  danger." 

He  kissed  her,  at  this — a  long,  passionate 
kiss  that  made  her  tremble.  Then  he  sent  for 
his  car. 

"The  racer,"  he  told  the  man.  "See  that 
she  has  plenty  of  gas." 

ONCE  on  the  road,  Joy's  fears  began  to 
vanish.    Romain  drove  like  the  wind. 

"It's  pretty  late,"  she  laughed.  "I  wonder 
how  Mr.  Porter  will  like  being  waked  up  in  the 
middle  of  the  night." 

"Oh — he  won't  mind  that.  His  usual  hour 
for  turning  in  is  around  two  or  three.  I  only 
hope  he's  on  hand  when  we  get  there." 

"  So  do  I,"  Joy  said.  "  Something— I  can't  ex- 
plain just  what — tells  me  we  aren't  the  only 
people  who  will  be  looking  for  him  tonight." 

"You  mean  Mrs.  Kramer?" 

"Yes.  And  Arthur  is  probably  with  her. 
You  see,  she  sent  him  to  Los  Angeles  yesterday, 
in  her  car.  She  expected  he  would  bring  her 
Mr.  Porter's  confession  early  in  the  evening. 
He  didn't.  Naturally,  she  called  him  up — 
talked  with  him.  Insisted,  I  don't  doubt,  that 
he  come  to  see  her  at  once.  I  think  he  went. 
As  a  matter  of  fact,  I'm  sure  I  saw  him  in  the 
lobby  as  I  drove  off.  Suppose  he  went  to  her — 
told  her  that  he  had  given  me  Mr.  Porter's 
confession.  She  would  have  been  furious,  of 
course.  She  wanted  to  make  use  of  that  paper 
herself.  The  first  thing  she  did  was  to  call  up 
Margot  Gresham  and  tell  her  to  come  here." 

"Yes.  We  know  she  did  that.  Although 
how  she  knew  you  were  with  me  I  can't  see." 

"The  trouble  with  you,  dear,  is  that  having 
an  honest,  straightforward  nature  yourself,  you 
don't  allow  for  the  shrewdness,  the  crooked- 
ness, of  others.  Helen  Kramer  is  a  very  shrewd 
woman.  She  knew  that  I  cared  about  you — 
knew  that  the  first  thing  I'd  do,  once  I  got 
hold  of  that  confession,  would  be  to  bring  it  to 
you.  She  guessed  that,  and  probably  verified 
her  guess  by  calling  up  the  hotel  and  finding 
out  that  I  wasn't  there.     Don't  you  see?" 

"It's  clear  enough,  now  you  explain  it." 

"  Very  well.  The  next  thing  she  did,  I'll  bet, 
was  to  jump  into  her  car  and  take  Arthur  to 
Los  Angeles  with  her." 

"I  hope  not.  They'll  be  ahead  of  us."  He 
increased  his  speed. 

"  I  don't  doubt  they  are.  By  at  least  half  an 
hour.  But  I  still  hope  we  may  arrive  in  time 
to  prevent  Mr.  Porter  from  saying  anything." 

"He  won't  say  anything  after  /  get  hold  of 
him,"  Romain  exclaimed  savagely. 

As  they  drove  down  the  street  on  which 
Porter's  hotel  was  situated,  Joy,  who  had  been 


peering   ahead,    suddenly    touched   her   com- 
panion's arm. 

."Slow  up,"  she  said.  "Stop  this  side  of  the 
entrance.  I  think  I  see  Mrs.  Kramer's  car 
out  in  front." 

Romain  stopped  his  machine  a  hundred  feet 
or  more  short  of  the  hotel  door. 

"I  believe  you're  right,"  he  said.  "I  know 
her  car.     Suppose  I  get  out  and  investigate." 

"It's  a  brown  roadster,"  Joy  called  after 
him  as  he  left  her.  "Don't  let  yourself  be 
seen." 

Romain  walked  rapidly  up  the  block.  In  a 
few  moments  he  was  back  again. 

"It's  Mrs.  Kramer's  car,  all  right,"  he  said. 
"There's  nobody  in  it.  We've  got  to  find  out 
whether  Porter  is  in  there  with  them,  or 
whether  he  hasn't  come  back  yet  and  they  are 
waiting  for  him." 

"Why  not  telephone?"  Joy  asked. 

"Righto!  The  very  thing.  Sit  here  in  the 
car,  sweetheart,  and  watch  to  see  if  anyone 
goes  in.  Yrou  wouldn't  know  Porter,  of  course, 
even  if  you  saw  him,  but — anyone,  at  this 
hour,  is  likely  to  be  him.  There's  a  drug-store 
at  the  corner.     I'll  telephone  from  there." 

When  he  came  back,  a  few  moments  later, 
Joy  saw  from  his  face  that  he  brought  good 
news. 

"Porter  hasn't  got  in  yet,"  he  told  her.  "I 
guess  Mr.  Lloyd  and  Helen  Kramer  are  in  the 
reception  room,  waiting  for  him.  Now  what 
I  suggest  is  this:  Yrou  sit  here  quietly  in  the* 
car.  I'll  wait  just  outside  the  hotel  entrance. 
When  Porter  comes — he'll  probably  roll  up 
in  a  taxicab — I'll  stop  him — bring  him  here. 
By  force,  if  necessary.  Then  we'll  take  him 
back  to  Hollywood  with  us.  When  I  get  him 
down  there,  I'll  tell  him  what  he's  got  to  do. 
After  I  have  a  talk  with  him,  I  don't  care 
whether  Mrs.  Kramer  sees  him  or  not.  Rather 
a  joke  on  those  two,  waiting  in  there  for  him, 
if  we  catch  him  first.  They  are  likely  to  have 
a  long  wait.  Until  morning,  probably — if  not 
longer.  They  won't  know  where  he  is,  and 
they'll  try  to  find  him,  but  the  very  last  place 
they  will  think  of  looking  is  my  house."  He 
left  Joy  as  they  heard  the  sound  of  an  ap- 
proaching taxicab,  and  stationed  himself  out- 
side the  hotel  door. 

THE  cab  drove  up  with  a  clatter.  From  it 
descended  Ray  Porter,  very  much  the  worse 
for  drink.  As  he  paid  the  cabman,  Romain 
went  up  to  him. 

"Porter,"  he  said  sternly,  "I've  got  to  have 
a  talk  with  you.  At  once.  Before  you  go  into 
the  hotel." 

"Why?  What's  up?"  The  man's  drink- 
sodden  face  showed  sudden  fear. 

"I  can't  explain  now.  But  you'll  hear  what 
I've  got  to  say  before  you  go  in  there."  He 
nodded  in  the  direction  of  the  hotel  entrance. 
"Somebody's  waiting  for  you." 

Porter's  flushed  face  suddenly  became  white. 

"I'll  go,"  he  said.  "Anywhere  you  say." 
Visions  of  detectives,  waiting  to  arrest  him, 
surged  through  his  brain.  "Is — is  it  about 
that  night?" 

"Yes.  Get  into  my  car.  This  way.  I've 
got  a  lot  of  things  to  say  to  you.  And  I  think 
the  best  place  to  say  them — the  safest  place 
for  you — is  at  my  house  in  Hollywood.  Here 
we  are.     Get  in." 

No  one  spoke  as  Romain  drove  at  top  speed 
back  to  Hollywood.  The  roads  were  clear;  he 
made  the  short  trip  in  record-breaking  time. 
Almost  before  she  realized  it,  Joy  found  herself 
once  more  in  Jean  Romain's  living  room. 
Porter  was  trembling  with  excitement.  His 
cheeks  were  vivid.  It  was  the  first  time  he  had 
been  in  the  room  since  Mrs.  Romain's  death. 

"Porter!"  Romain  took  some  papers  from 
his  pocket  and  held  them  in  his  hand — 
"Here's  that  confession  you  were  fool  enough 
to  give  Arthur  Lloyd  this  morning.  I  advise 
you  to  tear  it  up — burn  it — anything  you  like. 
Didn't  I  tell  you  that  if  you  ever  opened  your 
mouth,  about  that  night,  I'd  break  your  rotten 
neck?  Y'ou  did  my  wife  enough  harm  while 
she  was  alive.  What  do  you  mean  by  making 
such  a  statement,  now  that  she  is  dead?" 


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Porter  shrank  hack  again>t  the  table. 

"This  man  Lloyd  said  I  was  seen  going  into 
your  house  that  night,'"  he  whimpered.  "He 
-aid  that  if  I  didn't  sign  the  paper,  for  private 
use,  some  woman  would  give  her  story  to  the 
police  and  have  me  locked  up  before  night. 
And  you  as  well." 

"Look  here,"  Romain  said.  "Pull  yourself 
together.  Nobody  could  possibly  have  seen 
you — be  able  to  identify  you — in  that  fog. 
Bluff  the  thing  through.  Say  it's  a  lie.  Fix 
up  an  alibi  if  necessary.  Tell  them  you  were 
at  the  theater.  No  trouble  to  find  out  the 
name  of  the  show  that  was  playing  Los 
Angeles  that  week.  Or,  if  you're  afraid  to  face 
the  music,  make  a  trip  to  New  York,  or 
Europe,  tomorrow.  But  don't  sign  any  more 
confessions." 

"All  right,"  Porter  said,  with  a  sigh  of  re- 
lief. "I  can  fix  an  alibi,  I  guess.  The  elevator 
boy  at  my  hotel  is  a  dumb-bell.  He'll  swear 
that  he  took  me  up  to  my  rooms  at  nine  o'clock, 
instead  of  eleven,  if  I  ask  him." 

"Good!  We'll  talk  the  thing  over — tomor- 
row. It's  pretty  late  now.  Suppose  you  turn 
in.  First  room  on  the  right,  at  the  head  of  the 
stairs.  I'm  going  to  drive  Miss  Moran  back 
to  her  hotel." 

CHAPTER  XXV 

JOY  awoke  the  next  morning  with  Romain's 
good  night  kiss  still  fresh  upon  her  lips.  She 
had  just  sat  down,  after  a  hurried  breakfast,  to 
write  to  Mr.  Watrous  when  his  name  was  an- 
nounced to  her  from  the  office. 

She  was  astounded.  Margot  Gresham  had 
not  mentioned  the  fact  that  both  her  father 
and  the  lawyer  had  come  down  from  San 
Francisco  with  her.  She  hurried  to  the  lobby, 
wondering  what  this  unexpected  call  might 
mean.     She  was  not  long  in  doubt. 

Mr.  Watrous  grasped  both  her  hands,  his 
face  wreathed  in  smiles. 

"  You  dear,  wonderful  child ! "    he  exclaimed. 
.  "How  did  you  ever  manage  to  do  it?" 

"Do  what?"  Joy  asked,  mystified. 

"Why — break  off  things  between  Romain 
and  Margot.  She  told  her  father  last  night 
that  everything  was  finished.  In  fact,  she's 
going  east  with  him  tonight."  He  drew  a 
wallet  from  his  coat  pocket,  took  out  a  pink 
slip  of  paper.  "Here  is  Mr.  Gresham's  check 
for  a  hundred  thousand  dollars,  payable  to 
you." 

Joy  shook  her  head,  and  a  flush  came  to  her 
cheeks. 

"  I  couldn't  possibly  take  it,"  she  said.  "Not 
possibly." 

"But— why  not?  You've  earned  it.  Don't 
beabsurd.    Mr.  Gresham  is  delighted." 

"I  haven't  earned  it.  I  couldn't.  I  was  just 
going  to  write  you  a  letter,  telling  you  I 
hadn't  done  a  thing.  You  see,  I — I  think  too 
much  of  Mr.  Romain  to  do  anything  that  could 
hurt  him." 

"But — the  engagement  is  broken,  isn't  it?" 

"Yes." 

"  And  you  are  responsible  for  it,  aren't  you." 

"Yes.  I  suppose  I  am.  But — I've  got  so 
much  already — so  very  much,  that  I  couldn't 
think  of  taking  that  money — now." 

"Just  what  do  you  mean?" 

"Don't  you  know?  Mr.  Romain  and  I  are 
to  be  married." 

Watrous  stared  at  her  for  a  moment  with 
incredulous  eyes.    Then  he  burst  out  laughing. 

"Well — of  all  things!"  he  exclaimed.  "You 
little  minx.  But  what  about  Arthur  Lloyd? 
He  expected  to  marry  you  himself." 

"He  never  had  any  right  to  expect  such  a 
tiling.  Poor  Arthur.  Do  you  know,  Mr.  Wat- 
rous, for  certain  reasons,  I  really  think  I  ought 
to  give  this  money  to  him."  She  took  the 
.  check  in  her  fingers,  her  eyes  dancing.  "He 
earned  it.  I  can't  explain  just  how,  but  he 
did." 

As  she  spoke,  Arthur  came  into  the  lobby. 
He  was  red-eyed,  haggard,  after  his  sleeples 
night.     With  Helen   Kramer  he  had  waitec 
until  dawn,   hoping  each  moment  that  Ray 
Porter  would  put  in  an  appearance.    He  could 


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not  know,  of  course,  that  the  latter  was  already 
en  route  to  New  York. 

As  soon  as  he  saw  Joy,  Arthur  came  up  to 
her.  There  was  a  scowl  on  his  face,  which  the 
sight  of  Mr.  Watrous  only  served  to  increase. 

"  You  promised  to  give  me  back  that  con- 
fession of  Air.  Porter's  this  morning,  Joy,"  he 
said.     "Where  is  it?" 

"It's  burned,"  Joy  said.  "And  you  won't 
be  able  to  get  another,  because  Mr.  Porter  has 
gone  away.  Anyhow,  there  is  no  reason  for 
getting  another,  and  it  wouldn't  be  a  bit  of 
use  to  you  if  you  did.  You  see,  Arthur,  a  lot 
of  things  have  happened  since  last  night.  One 
of  them  is  that  Margot  Gresham  has  broken 
her  engagement  to  Mr.  Romain.  And  another 
is  that  he  is  going  to  marry  me." 

"  What?  "  Arthur  staggered  a  bit  under  the 
blow. 

"I  know  how  you  feel  about  it,  Arthur," 
Joy  went  on,  her  eyes  very  tender  and  com- 
passionate. "But  we  love  each  other,  and 
nothing  that  anyone  can  do  now  is  going  to 
separate  us.  I  want  you  to  know  that,  and 
I  want  Mrs.  Kramer  to  know  it,  too.  It  would 
be  useless  for  her  to  try  to  harm  Jean  now, 
with  that  story  of  hers.  The  only  result  would 
be  to  smirch  a  dead  woman's  name.  As  for 
that  hundred  thousand  dollars  Mr.  Gresham 
promised  me,  here  it  is.  I  couldn't  possibly 
take  it,  of  course.  But — there's  no  reason  why 
you  shouldn't — if  you  want  it.  All  I  ask  in 
return  is  that  you  keep  Mrs.  Kramer  quiet." 
She  turned  to  Mr.  Watrous.  "Of  course  I 
shall  pay  you  the  money  father  owes  you,  out 
of  my  salary.  How  is  he?  You  haven't  told 
me." 

"Better.  Much  better.  I  would  have 
written  you,  but  I  wanted  to  be  quite  sure, 
first.  The  doctors  now  say  that  there  is  not 
the  least  doubt  about  his  regaining  his  sight. 
In  a  month  or  two  he  will  be  a  well  man." 

"Thank  God!"  Joy  whispered,  then  once 
more  turned  to  Arthur  Lloyd.  "Aren't  you 
going  to  congratulate  me?"  she  asked,  putting 
out  her  hand.     Arthur  took  it. 

"I  do,"  he  said.  "And  I  don't  want  that 
money,  either.  You'd  better  give  it  to  your 
father." 

"I  never  supposed,"  Mr.  Watrous  laughed, 


"that  it  would  be  so  hard  to  get  rid  of  a  hun- 
dred thousand  dollars." 

"You  had  best  give  it  back  to  Mr.  Gresham," 
Joy  said.  "If  he  really  wants  to  do  anything 
for  me.  he  can  help  me  to  keep  my  position 
with  the  Royal." 

"From  what  I  hear,"  Watrous  replied,  "you 
don't  need  anybody  to  help  you.  Senft  told 
me  the  other  day  in  New  York  that  you  were 
a  knockout.  I  guess  he'll  be  out  here  pretty 
soon,  offering  to  sign  you  up  for  the  next  five 
years." 

"You  might  say  to  him,  when  you  see  him, 
that  he'll  first  have  to  see  my  husband.  We're 
going  to  be  married  at  once.  And  by  the  way, 
if  you  were  to  go  to  Steve  Kramer,  the  Royal's 
art  director,  while  you're  here,  and  quietly 
suggest  that  any  move  on  his  wife's  part 
against  Mr.  Romain  would  probably  cost  him 
his  job,  I  have  no  doubt  he  can  keep  her  quiet. 
She  knows  something  that  could  hurt  not  only 
Jean,  but  Margot  a  lot,  if  she  told  it.  I'm  sure 
Mr.  Gresham  wouldn't  want  any  scandals 
stirred  up  now." 

"You  bet  he  wouldn't.  I'll  attend  to  the 
matter  at  once."  As  he  spoke,  Romain  came 
in,  and  Watrous,  going  up  to  him,  offered  his 
congratulations. 

"You've  got  just  about  the  finest  little 
woman  in  the  world,"  he  said. 

"I  know  it,"  Romain  laughed,  then  turned 
to  Arthur.  "I  want  you  to  congratulate  me, 
too — for  Joy's  sake,"  he  said,  and  put  out  his 
hand. 

For  a  moment  Arthur  drew  off,  then  his 
better  nature  came  to  the  fore. 

"Since  I  couldn't  have  her  myself,"  he  said 
earnestly,  "I'm  glad  you're  going  to."  He 
grasped  Romain's  hand  for  a  moment,  nodded 
goodbye.  "See  you  all  later.  Got  to  get  over 
to  the  lot." 

Watrous,  too,  excused  himself,  pleading 
business  with  Mr.  Gresham.  Romain  took  Joy 
by  the  arm. 

"Well,  sweetheart,"  he  said,  smiling  at  her, 
"how  does  it  feel  to  be  engaged?" 

"I  can't  imagine  anything  nicer,"  Joy 
flashed  at  him,  "except  being  married." 

"Neither  can  I.  I  think  we'd  better  take 
the  day  off  and  attend  to  it  at  once." 


=    uiOuKSOttoei  Ti^Q? 


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Questions  and  Answers 

[  CONTINUED  FROM  PAGE  8l  ] 

M.  M.,  Los  Angeles. — You  have  missed 
"The  one  and  only  Charles  Ray,  who  is  a 
whole  constellation,  yea,  verily,  a  comet"  from 
the  City  of  Los  Angeles.  And  you  would  know 
his  whereabouts.  While  I  write  this  he  is 
indeed  missing  from  Los  Angeles.  The  Charles 
Ray  Productions,,  1428  Fleming  Street,  Lo:- 
Angeles,  knows  him  not.  For,  having  finished 
his  picture,  "The  Courtship  of  Miles  Standish," 
he  is  enjoying  a  vacation  with  Mrs.  Ray  at 
French  Lick  Springs.  You  know  the  place.  It 
is  in  Indiana.  The  "constellation  and  comet" 
of  your  admiration  is  indulging  in  the  current 
French  Lick  occupations  of  baking  in  the  mud 
half  a  day  and  looking  over  presidential 
candidates  the  other  half.  Mr.  Ray  is  thirty- 
two  years  old.    He  married  Clara  Grant. 

M.  W.,  Pleasanton,  Texas. — Ah!  I  am 
becoming  an  expert  in  note  paper.  This  is  a 
novelty.  Pink  of  the  palest,  unscented  save — 
is  that  a  whiff  of  your  own  cigarette  smoke  or 
mine?  If  my  nostrils  betray  me,  no  matter.  I 
observe  in  your  notepaper  novelty — pink  of  the 
same  shade  as  a  blush  rose,  silver  edged,  the 
edges  nicked  at  long  and  regular  intervals  by 
tiny  triangles.  A  note  paper  that  is  the  index 
and  essence  of  a  refined,  yet  an  original  person- 
ality. I  am  moved  to  polite  answer  by  the 
note  paper  as  well  as  the  courteous  request. 
Agnes  Ayres  it  was  who  played  opposite 
Rodolph  Valentino  in  "The  Sheik."  Bebe 
Daniels'  height  is  near  to  the  average  in 
woman,  five  feet,  four  inches.  Her  weight  is 
one  hundred  and  twenty-three  pounds. 

M.  T.  D.,  Shenandoah,  Pa. — Eddie  Polo 
would  wish  me  to  answer  your  questions  if  he 
knew  you  had  written  "I  think  he  is  one  of  the 
nicest  men  on  the  screen."  Mr.  Polo  was  born 
at  Los  Angeles,  Calif.,  February  12,  1881.  His 
father  was  an  Italian,  his  mother  an  Austrian. 
He  married  Pearl  Gray,  an  actress.  His  next 
picture  to  be  released  is  titled,  "The  Real 
Thing." 

S.  D.  C,  "The  City  oe  Plows." — Mayme 
Kelso  is  playing  in  "  Slander  the  Woman."  She 
is  a  character  actress.  Why  not  write  her  and 
recall  school  days? 

Zoe  of  Milwaukee. — Your  tastes  and  mine 
in  stars  are  identical.  Glad  I  didn't  spell  it 
with  "cle"  this  time.  That  word  has  always 
been  my  black  beast,  as  the  French  say  of  what 
they  dislike.  Eleven  favorite  female  stars  and 
seven  male.  Truly  your  tastes  are  broad  as  the 
sea.  Kate  in  "Way  Down  East"  was  played 
by  the  then  Mary  Hay,  now  Mary  Hay 
Barthelmess,  wife  of  Richard  Barthelmess,  so 
vigorously  engaged  in  saving  Lillian  Gish  from 
death  in  the  ice  floe  in  the  same  picture.  She 
will  play  in  a  musical  comedy,  "Plain  Jane," 
next  season. 

M.  de  M.,  Havre  de  Grace,  Md. — Your 
eyes  are  keen,  as  I  have  no  doubt  they  are 
brilliant.  What  you  think  you  noticed  in 
"Prodigal  Daughters"  was  no  illusion.  Gloria 
Swan-on  has  bobbed  her  hair.  That  she 
recently  did.  The  color  of  her  hair  is  reddish 
brown. 

M.  L.,  Los  Angeles,  Calif. — With  all  my 
knowledge  of  Charles  Ray  I  thee  endow,  fair 
Mona.  Charles  Ray's  experience  in  motion 
pictures  covers  eight  full  and  effective  years. 
"The  Sheriff's  Son,"  "The  Coward,"  "The 
Busher"  and  "The  Girl  Dodger"  were  his 
earlier  pictures.  His  stage  career  comprised 
four  and  a  half  years,  spent  in  musical  corned)', 
the  drama  and  vaudeville,  the  three  sisters  of 
the  theater.  Thirty-two  years  ago  he  was  born 
in  the  same  state  in  which  Abraham  Lincoln 
grew  to  manhood's  estate,  though  Charles  left 
it  at  an  earlier  age  than  Abraham  did.  Mr. 
Ray  was  married  three  years  ago  to  Miss  Clara 
Grant. 


continued  on  page  125 


Falling 

New 


Hair  Stopped) in 

Hair  Grown)90days 

—  or  purchase  price  refunded! 


USE  THE  COUPON 

If  your  usual  department  store 
or  druggist  cannot  supply  you 
with  the  new  Van  Ess  Treatment 
use  coupon  below.  Enclose  no 
money — we  will  send  the  treat- 
ment parcel  post,  collect.  Or,  if 
you  prefer,  enclose  check  or  cash. 


Remarkable  New 
Dermatological  Treatment 

Proves  that  hair  roots  seldom  die  — 
that  they  can  be  revived — given  new  life 


Amazing  new  discoveries  have  recently  been 
made  in  hair  treatment. 

The  source  of  falling,  lustreless  hair  has  been 
traced  to  a  simple  infection  (Sebum)  which 
modern  science  now  usually  overcomes.  Re- 
sults are  remarkable.  In  a  recent  experiment 
new  hair  was  actually  grown  in  91  cases  out 
of  100. 

This  offers  you  the  opportunity  to  test  the  new 
Van  Ess  method,  which  accomplished  those 
results,  witho'ut  risk  or  obligation. 
Absolutely  Guaranteed 
Falling  hair  stopped.   New  growth  started  in 
90  days. 

The  treatment  is  thus  guaranteed.  One's  own 
druggist  or  department  store  signs  the  warrant. 
Hence  the  user  assumes  no  risk. 
During   the  last  six  months,  200,000  women 
have  made  this  test. 

World-noted  dermatologists  are  employing  the 
same  basic  ingredients. 

Many  charge  $300  for  this  type  of  treatment. 
Now  it  is  a  known  fact  that  any  woman  can 
display  the  charm  of  lustrous  hair  beauty,  if  she 
will  only  choose  to  do  so. 

Falling  hair,  dull,  lifeless,  uninteresting.  Six 
women  in  eight  have  it!  The  reason  is  the 
infected  Sebum  that  clings  to  the  scalp  and 
prevents  hair  growth — mars,  devitalizes. 


Note  This  New 
Way 

You  can  see  from  the 

illustration  thatVan 

Ess  is  not  a  "tonic,"  it 

combines  a  massage  and 

lotion.  You  do  not  rub 

it  in  with  your  fingers. 

Each   package    comes 

with  a  rubber  massage 

cap.  The  nipples  are 

hollow.     Just  invert 

bottle,  rub  your  head, 

and  nipples  automat- 

icallyfeedlotiondown 

into  follicles  of    the 

scalp.   It  is  very  easy 

to  apply.  One  minute 

each  day  is  enough. 


This  new  Van  Ess  method  quickly  overcomes 
it.    It  starts  to  act  almost  instantly.    One 
needn't  wait  months  to  see  results. 
The  Infected  Sebum  —  You 
Must  Remove  It 
Sebum  is  an  oil,  which  forms  at  the  follicles  of 
the  hair.  Its  natural  function  is  to  supply  the 
hair  with  oil. 

But  it  becomes  infected.  It  cakes  on  the  scalp, 
clogs  the  follicles  and  plugs  them.  You  can  see 
it  in  your  hair,  either  in  the  form  of  dandruff, 
or  in  that  of  an  oily  excretion  (at  the  hair 
roots)  of  the  scalp. 

Germs  by  the  millions  breed  in  it,  then  feed 
upon  the  hair.  Soon  the  hair  begins  falling.  In  a 
short  time,  natural  lustre  and  beauty  are  gone. 
But  note  this  scientific  fact:  Remove  the  Sebum 
and  the  hair  usually  reverts  back  to  the  soft- 
ness and  brilliancy  it  displayed  in  your  school- 
girl days.  The  Van  Ess  treatment  accom- 
plishes that  result.  We  know  you  will  doubt  it. 
So  we  guarantee  it. 

Where  to  Obtain  the  Treatment 
— at  toilet  counters  in  department  stores.  Also 
druggists.  Or,  BY  MAIL.  Simply  use  the 
coupon  below  if  your  dealer  cannot  supply 
you.  With  each  3-bottle  treatment  comes 
written  guarantee  to  stop  falling  hair  and  start 
new  growth  of  hair  in  90  days,  or  entire  pur- 
chase price  refunded  by  us.  Price,  $1.50  per 
bottle.  No  money  need  accompany  the  coupon 
— we  will  supply  you  by  Parcel  Post,  collect. 

VAN  ESS  LABORATORIES,  Inc. 
33  East  Kinzie  Street                    Chicago,  Illinois 
, COUPON 


VAN  ESS  LABORATORIES 
33  E.  Kinzie  St..  Chicago,  111. 


t 

I 

Please  send bottles  Van  Ess  Liquid  Scalp    . 

Massage,    Parcel  Post.    I  enclose  no  money,  but    " 
agree  to  pay  the  postman  when  he  calls. 

Name 


I 


Address  . 


City State I 


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104 


Photoplay  Magazine — Advertising  Section 


The  Most 

Precious  Perfume 

in  the  World 

CT)IEQER'S  FLOWER  DROPS 
^Y  are  unlike  anything  you  have 
>s_»  ever  seen  before.  The  very 
essence  of  the  flowers  themselves, 
made  without  alcohol.  For  years  the 
favorite  of  women  of  taste  in  society 
and  on  the  6tage. 

The  regular  price  is  $1 5.00  an  ounce ,  but  for  20c 
Vou  can  obtain  a  miniature  bottle  of  thia 
perfume,  the  most  precious  in  the  world.  When 
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«o  highly  concentrated  that  the  delicate  odor 
from  a  single  drop  will  lost  a,  week. 

Sample 


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silver)  with  the  cou- 
pon below  and  we  will 
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Drops,  the  most  allur- 
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Your  choice  of  odors, 
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Rose,  Violet,  Romaiv 
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Direct  »r  from  Drug fiiti 
Bottle  of  Flower  Drops 
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Lilac,  Crabapple. $1.60 
Lily  of  the  Valley. 

Rose,  Violet $2.00 

Romanza $2.50 

Above  odors,  1  oz.  SIS 

H  "  $  S 

Mon  Amour  Perfume. 

sample  offer,  1  oz.  $1.60 

Souvenir  Box 

Extra  special  box  of  five 
25c  bottles  of  five  differ- 
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If  any  perfume  does  Dot 
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end  money  will  be  re- 
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PE  R  F  W^EATOILITAVATER 

uoweTErops 


)Send_The  Coupon  Now! 

Paul  Rieger  &.  Co.,  (Since  1872) 

157  First  Street,  San  Francisco 

Enclosed  find  20c  for  which  please  send  me 
sample  bottle  of  Rieger's  Flower  Drops  in  the 
odor  which  I  have  checked. 

Q  Lily  of  the  Valley  D  Rose  D  Violet 

□  Romania  D  Lilac  D  Crabapple 


Name 


Address  ■ 


Q  Souvenir  Box — $1. 00  enclosed. 

— $ enclosed. 

Remember,  if  not  pleased  your  money  will  be  returned. 


The  veranda  of  her  Beverly  Hills  home  as  a  setting  for  Miss  Swanson 

Gloria!    An  Impression 

I  CONTINUED  FROM  PAGE  29  ] 


Gloria  was  a  most  unimportant  and  ordinary 
infant.  Nobody  anywhere  recorded  her  birth 
or  greeted  her  arrival. 

Just  one  of  the — how  many  babies  is  it — 
born  every  year. 

She  grew  into  a  plain,  long-legged  child, 
without  promise  of  beauty.  If  there  was  any- 
thing notable  about  her,  people  who  knew  her 
then  have  told  me,  it  was  her  sweetness  of  dis- 
position and  her  cheery,  breezy  desire  to  do  for 
everybody  and  see  that  everybody  was  com- 
fortable and  happy. 

Her  father  was  a  soldier  of  fortune — later  an 
army  officer.  And  between  them  existed  a 
really  strong  bond,  a  deep  and  lasting  affection. 
She  talked  to  him — of  her  dreams,  her  ambi- 
tions. She  confided  in  him  all  her  girlhood 
secrets.  He  was  the  first  real  and  intense  love 
of  her  life. 

She  went  to  high  school  in  Chicago  and 
various  places.  Just  an  ordinary-looking  girl, 
a  little  heavy,  grown  inscrutable  and  silent. 
Not  picked  out  for  popularity.  Not  in  any 
way  a  leader  or  a  divinity  among  her  school- 
mates. 

"She  was  a  nice  enough  kid,"  a  man  in  Chi- 
cago who  once  went  to  school  with  her  told  me, 
"but  sort  of  homely,  I  thought.  We  liked  her 
all  right,  but  I  don't  remember  that  we  ever 
paid  much  attention  to  her." 

When  she  went  home  she  helped  with  the 
housework.    They  were  poor.    When  she  trav- 


eled from  post  to  post  with  her  father,  her  life 
was  more  exciting,  but  certainly  not  more 
opulent. 

Her  father  and  mother  were  divorced  during 
her  early  teens,  and  Gloria  stayed  with  her 
mother.  But  her  association  with  her  father 
continued.  Captain  Swanson  is  a  tremendous- 
ly interesting  man  today — a  man  of  keen 
humor,  facility  of  emotion,  a  fund  of  interesting 
and  unusual  experiences. 

Her  debut  into  pictures  is  almost  too  well 
known  to  need  more  than  a  passing  comment. 
Extra  girl  at  the  Chicago  Essanay  in  1916  in 
Chicago.  Sennett  comedies,  first  as  extra,  then 
as  a  featured  player.  Triangle  comedies  and, 
later,  a  chance  on  that  lot  to  play  a  dramatic 
role  (because  they  thought  she  could  swim). 
Cecil  de  Mille.     Paramount  stardom. 

Today  she  is  one  of  the  best-selling  and  mo^t 
popular  stars  in  the  business.  When  Para- 
mount demoted  a  number  of  stars,  Gloria  was 
one  of  the  three  they  kept  in  stellar  position — 
Pola  Negri  and  Tommie  Meighan  being  the 
other  two. 

Her  first  marriage  was  to  Wallace  Beery — 
now  one  of  the  great  character  actors  of  the 
screen. 

She  was  madly  in  love  with  him.  More  in 
love,  probably,  than  she  has  ever  been  before 
or  since.  But  it  wasn't  a  happy  marriage  by 
any  means.  They  had  a  home,  it  is  true,  but 
merely  an  average  home.     They  were  both 


Every  advertisement  In  PHOTOPLAY  MAGAZINE  is  guaranteed. 


WE  all  dread  the  life- 
less dullness  that 
the  years  give  to  hair.  To 
help  keep  the  hair  fresh, 
flurry  and  full  of  lustre, 
Wildroot  Cocoanut  Oil 
Shampoo  should  be  used 
regularly. 

Its  pure,  creamy  lather 
will  keep  health  and 
youth  in  the  scalp,  glorify 
the  hair  with  a  delicate 
perfume  of  cleanliness, 
and  keep  it  looking 
always  lovely. 

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Photoplay  Magazine — Advertising  Section 

working.  And  they  quarrelled  a  good  deal, 
apparently,  as  two  people  of  intense  nature  and 
strong  passions  will. 

Finally,  she  divorced  him. 

I  remember  her  so  well  in  those  days.  I  re- 
member the  first  time  I  ever  saw  her  on  the 
Triangle  lot. 

Oh,  she  took  the  eye  even  then.  That  figure. 
Those  alluring  eyes.  The  subtle,  sullen  emotion 
of  her  face. 

Men  on  the  lot  stopped  instinctively  to 
look  at  her. 

But  the  women  smiled  a  little.  What  clothes. 
What  a  walk.  What  a  restless,  unstable,  un- 
settled personality.  She  wore  a  funny  sailor 
hat  over  the  heavy  masses  of  unruly  hair,  the 
seams  of  her  stockings  were  crooked,  the  white 
shoes  were  none  too  clean,  the  small  bunches 
around  her  waistline  showed  where  her  under- 
clothing was  all  wrong. 

Now  there  was  a  designer  on  the  Triangle  lot 
named  Peggy  Hamilton.  A  woman  with  an 
eye  for  line,  a  vision  for  color  and  a  genius  for 
knowing  what  every  woman  should  wear.  I 
always  hope  that  Gloria  has  not  forgotten 
Peggy  Hamilton.  Peggy  saw  Gloria.  And 
with  that  instinct  of  hers  and  her  Parisian 
training,  she  saw  something  of  the  thing  Gloria 
was  to  become,  the  butterfly  still  hidden  in  the 
chrysalis. 

She  dressed  her  for  her  first  picture. 

Then  began  the  transformation — that  made 
Gloria  Swanson,  to  my  own  taste,  the  most 
irresistibly  beautiful  creature  on  the  screen. 
I  admit  it.  In  so  far  as  looks  are  concerned, 
I  would  rather  look  at  Gloria  than  all  the  rest 
of  them  put  together.  I  never  have  any  idea 
what  her  pictures  are  about.  I  just  like  to 
gaze  at  her. 

There  have  been  many  influences  in  her  life 
to  bring  about  the  completion  of  the  miracle. 
Cecil  de  Mille,  who  groomed  and  trained  her 
for  his  first  pictures:  Elinor  Glyn,  whose  in- 
timate association  seems  only  now  to  be  bear- 
ing fruit  in  a  new  fineness  of  manner  and  dig- 
nity of  bearing. 

Her  second  husband,  from  whom  she  just 
obtained  a  divorce,  was  Herbert  Somborn.  It 
was  easy  to  understand  why  she  married  him. 
A  young  New  Yorker  of  the  greatest  possible 
polish.  A  man  of  somewhat  impressive  family 
connections.  He  had  all  the  things  Gloria  was 
then  reaching  out  for — striving  to  attain  and 
acquire. 

Their  first  year  seems  to  have  been  a  blissful 
dream. 

The  birth  of  little  Gloria  Second  its  crowning 
happiness. 

But — it  didn't  last. 

GLORIA  is  not  self-centered,  exactly.  But  it 
is  true  that  her  work  and  her  career  and  the 
things  she  stands  for  and  does  come  first.  She 
is  quite  right  in  saying  she  should  not  marry. 
Her  life  is  quite  full  enough  without  the  extra 
care  and  demands  of  a  husband. 

A  complex  creature.  With  unexpected  shal- 
lows and  unexpected  depths.  Moods  that 
shimmer  from  gold  to  black. 

She  is  an  ideal  mother.  Her  devotion  to  her 
daughter  is  remarkable.  And  I  have  never  in 
my  life  heard  anyone  talk  more  intelligently 
about  child  training  or  the  development  of  a 
child's  nature  and  mind  in  the  way  they  should 
go  than  Gloria  Swanson. 

I  believe  one  of  the  most  interesting  hours  I 
ever  spent  in  my  life  was  in  discussing  the 
problem  of  bringing  up  children  with  Gloria. 
Her  ideas  are  very  ^definite,  very  sane  and  very 
advanced. 

She  has  only  one  or  two  intimates — a  very  few 
friends.  She  is  aloof  and  defensive.  And  yet 
she  is  charming. 

I  can  think  of  no  one  on  the  screen  whom  it 
will  interest  me  more  to  see  ten  years  from 
now.  When  you  look  back  along  the  way  she 
has  come  and  see  what  she  has  made  of  herself 
in  the  past  ten  years — it's  utterly  intriguing  to 
think  what  she  should  be  at  the  end  of  another 
decade. 

And  she  will  be  only  thirty-four  then.  The 
prime  of  a  woman's  beauty  and  charm. 

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As 


He  was 
waiting 

^S  she  skipped  down  the  stairs  to 
meet  him,  she  was  confident 
she  looked  her  best. 

Her  hair  was  delightfully  soft,  fluffy 
and  charmingly  arranged,  and  it 
had  that  dainty  fragrance  she  had 
so  often  envied. 

Men  wondered  at  her  loveliness, 
and  women  envied  her  popularity. 
But  best  of  all — he  knew  that  some- 
how she  was  different  from  any 
other  girl. 

The  secret  of  lovely  hair  is  open  to 
you,  too.  Even  though  one's  hair 
may  be  full  of  dandruff,  dull — 
apparently  lifeless,  Wildroot  Hair 
.  Tonic  will  bring  out  its  hidden 
freshness  and  charm. 

After  your  Wildroot  Shampoo,  mas- 
sage Wildroot  Hair  Tonic  into  the 
scalp.  Then  notice  the  immediate 
results.  Wildroot  Co.,  Inc.,  Buffalo, 
NY. 

WILDROOT 

HAIR  TONIC 


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Photoplay  Magazine — Advertising  Section 


Miss  Ethel  Barrymore, 
whom  Neysa  McMein,  the 
eminent  artist,  recently  pro- 
claimed one  of  America's 
most  beautiful  women,  says: 

"Each  tiny  flake  of  the 
elusi'vely  fragrant  Day 
Dream  Powder  is  held  in 
place  as  if  by  the  loving 
touch  of  fairy  hands.  It 
stays  on. " 


Jbd&R 


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The  Romantic  History  of  the  Motion  Picture 


CONTINUED  FROM  PAGE  52  ] 


License  violations  were  breaking  out  all  over 
the  country.  The  next  move  in  Kennedy's 
mind  was  to  take  the  exchanges  away  from 
these  troublesome  fellows,  eliminate  a  vast  deal 
of  waste  and  turn  the  profits  of  the  exchange 
system  into  the  pockets  of  the  Patents  Com- 
pany J^roup. 

Doubtles--  another  contemplated  step  was  to 
lake  the  theaters  too,  giving  the  Patents  Com- 
pany control  from  the  making  of  the  film  clear 
down  to  the  box-office — but  that  step  never 
came,  in  the  life  of  the  Patents  Company. 

Kennedy  found  opposition  for  his  idea  within 
his  own  group.  The  licensed  film  makers 
feared  that  any  move  to  open  their  own  ex- 
change system  would  alienate  their  customers. 
They  were  thriving.  They  wanted  to  let  well 
enough  alone.  But  Kennedy  had  his  way  of 
prevailing.    His  mind  was  made  up. 

February  10,  iqio,  the  motion  picture  world 
was  excited  to  learn  that  the  General  Film 
Company  of  New  Jersey  had  been  incorporated 
at  Trenton  with  a  capitalization  of  two  million 
five  hundred  thousand  dollars! 

The  motion  picture  is  quite  casual  about 
millions  now,  but  a  two  and  a  half  million 
dollar  corporation  in  iqio  was  a  stupendous 
thriller. 

The  dry  and  formal  incorporation  announce- 
ment from  Trenton  gave  little  nourishment  to 
the  speculations  of  the  motion  picture  men. 
The  names  were  all  strange  and  meaningless, 
being  dummy  incorporators  carefully  chosen 
by  Kennedy.  The  new  concern  was  to  engage 
in  the  distribution  of  motion  pictures.  That 
was  all.    Here  was  the  menace  of  a  new  trust! 

The  exchange  men  talked,  violently,  vigor- 
ously and  freely. 

THE  agents  of  Fighting  Jeremiah  Kennedy 
listened  and  reported.  When  it  was  all  over 
he  had  the  pulse  of  the  situation  neatly  counted 
and  a  rather  accurate  estimate  of  what  it  would 
cost  to  buy  the  exchanges  the  "Trust"  desired. 

Meanwhile,  or  rather  simultaneously,  just 
to  keep  the  morale  of  the  situation  up,  the 
Patents  Company  instituted  a  new  action 
ag-ainst  the  Imp,  charging  infringement  spe- 
cifically of  the  Latham  loop  patent. 

The  talk  of  some  impending  move  of  the 
I  "Trust"  grew  stronger.  It  was  the  subject  of 
nightly  debates  at  secret  meetings  of  the  Inde- 
pendents held  at  the  Kessel  &  Baumann  Em- 
pire Film  exchange  in  Fourteenth  street.  Some- 
thing would  have  to  be  done  to  present  a 
]  united  front  against  the  foe. 

Out  of  these  conferences,  the  Motion  Picture 
Distributing  &  Sales  Company  was  formed,  to 
\  ship  the  product  of  the  Independents,  collect 
the  money  for  it — and,  most  important  of  all, 
deduct  a  percentage  to  go  into  a  fund  for  the 
common  defense  in  the  legal  wars  of  the  Inde- 
pendents against  the  Motion  Picture  Patents 
Company.  Carl  Laemmle  was  chosen  presi- 
dent of  the  Sales  Company. 

Internal  dissensions  began  to  arise  in  the 
Sales  Company  at  once.  A  split  of  the  Inde- 
pendents impended  even  as  they  combined. 

Nothing  more  was  heard  of  the  General  Film 
Company  of  New  Jersey.  It  had  been  but  a 
shot  fired  to  flush  the  game  and  stir  up  telltale 
talk  and  action. 

But  on  April  10,  a  little  handful  of  Patents 
Company  executives  and  licensed  film  makers 
gathered  in  a  hotel  room  at  Portland,  Maine. 
There  they  concluded  the  legal  details  of  in- 
corporating the  General  Film  Company  of 
Maine,  capitalized  at  two  millions. 

The  incorporators  quietly  returned  to  New 
York  and,  unlike  the  New  Jersey  concern,  noth- 
ing was  heard  from  the  General  of  Maine  for 
some  weeks.  On  May  27,  igio,  the  Film  Index, 
organ  of  the  "Trust,"  announced  the  General 
Film  Company  and  its  purchase  of  the  ex- 
changes belonging  to  George  Kleine  in  various 
cities,  and  the  Lubin  exchange  in  Philadelphia. 
Of  course,  it  will  be  recognized  at  once  that 
both  Lubin  and  Kleine  were  closely  identified 
with  the  Patents  Company.    Since  1908  Kleine 


had  been  advocating  the  General  Film  Com- 
pany idea. 

The  General  Film  Company  launched  out  on 
a  campaign  of  buying  desirable  exchanges. 
There  were  about  sixty  on  Kennedy's  list, 
under  the  blotter  on  his  flat-topped  desk  at 
52  Broadway.  The  method  of  purchase  was 
neat  and  simple.  The  General  offered  for  each 
exchange  a  predetermined  price,  also  on  Ken- 
nedy's schedule,  to  be  paid  with  a  small  initial 
sum  of  cash,  an  allotment  of  stock  in  the 
General,  and  the  remainder  in  a  series  of  well 
spaced  installments  against  notes  of  the  Com- 
pany. By  this  method  the  exchanges  to  be 
bought  were  to  be  made  to  pay  for  themselves 
out  of  their  own  profits. 

In  the  two  years  that  followed  General  rather 
closely  followed  its  plan.  It  became  the  most 
powerful  organization  the  motion  picture  in- 
dustry has  ever  seen,  or  is  ever  likely  to  see. 

An  interesting  and  little  known  fact  is  that 
General  Film,  the  maker  of  so  many  millions, 
did  not  represent  any  investment  whatever, 
unless  one  counts  the  fifteen  thousand  which 
Kennedy  loaned  the  company  at  its  incorpora- 
tion, just  by  way  of  having  something  in  the 
center  of  the  table. 

One  of  the  earliest  purchases  of  the  General 
Film  Company  was  the  business  of  Percy 
Waters'  Kinetograph  exchange.  The  name, 
however,  remained  Waters'  property.  It  was 
due  to  come  back  into  the  business  and  politics 
of  the  screen  later. 

The  impression  that  Waters  had  made  at  the 
time  of  Kennedy's  pursuit  of  the  missing  Bio- 
graph  print  in  the  New  York  Roof  raid  now 
bore  fruit. 

J.  A.  Berst,  of  Pathe,  and  Kennedy  were  in 
conference  about  the  operation  of  General 
when  Berst  suggested  Waters  as  general  man- 
ager. 

"He's  the  man,"  Kennedy  agreed  in  a  flash, 
grinning  at  his  recollection  of  the  conflict 
some  months  before.  And  Waters  was  pre- 
vailed upon  to  take  the  job. 

A  MEASURE  of  the  scant  faith  that  the 
licensed  film  makers  of  the  Patents  group 
held  in  the  General  Film  project  in  the  beginning 
is  clearly  indicated  by  the  procedure  of  an  early 
meeting  of  the  board  of  directors.  The  question 
before  the  meeting  was  the  matter  of  a  salary 
for  their  president,  Jeremiah  J.  Kennedy. 

Kennedy  had  warily  kept  off  the  subject  and 
no  terms  had  been  mentioned.  The  directors 
approached  the  subject  with  some  timidity. 
This  Kennedy  was  a  hard,  hard  man.  At  last 
they  presented  their  proposal  —  twenty-five 
thousand  dollars  a  year,  and  a  commission  of 
ten  per  cent  of  the  General  Film  Company's 
net  profits. 

Kennedy  listened  gravely,  with  an  unmo\  ed 
poker  face. 

There  was  a  moment  of  alarm. 

There  was  a  hastily  added  clause — "and  we 
want  to  guarantee  that  the  ten  per  cent  will 
anount  to  at  least  twenty-five  thousand  more, 
making  fifty  thousand  in  all." 

Kennedy  drew  up  with  dignity  and  raised 
his  hand  in  protest. 

"No,  boys — I  will  be  a  sport.  I'll  just  take 
the  ten  per  cent,  even  if  it's  only  a  dime." 

How  much  that  contract  amounted  to  may 
be  calculated  when  it  is  known  that  General 
reached  an  annual  net  profit  of  as  high  as  one 
million  seven  hundred  and  fifty  thousand  dol- 
lars a  year. 

When  Kennedy  retired  from  the  motion  pic- 
ture business  some  years  after  he  took  with 
him  probably  the  most  substantial  fortune  ever 
really  taken  out  of  the  industry.  And  all  this 
gained  as  an  "employee."  All  companies  in- 
cluded, J.  J.  Kennedy  owned  a  total  of  four 
shares  of  motion  picture  stock  in  his  whole 
career,  just  enough  stock  to  let  him  qualify  as 
an  officer  and  director. 

To  the  layman  considering  the  days  of  1910, 
it  may  seem  peculiar  that  the  General  was  able 
to  buy  all  those  film  exchanges  on  its  own 


Brerj  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


107 


terms.  Why  did  not  the  owners  refuse  to  sell? 
The  answer  is  that  quite  a  few  did — and  found 
themselves  in  trouble  with  the  Motion  Picture 
Patents  Company,  which  thanks  to  Kennedy's 
espionage  system  was  nearly  always  able  to 
find  a  justification  for  a  cancellation  of  the 
exchange's  license.  Without  a  license,  no  li- 
censed film — and  the  Independent  field  was 
fairly  well  filled  already. 

The  operations  of  the  Independents  were  not 
hedged  about  with  legal  hazards  alone.  The 
Patents  Company  was  making  it  as  nearly 
impossible  as  possible  for  the  unlicensed  makers 
of  pictures  to  get  the  raw  materials  of  their 
product. 

The  Eastman  company  at  Rochester  was  in 
agreement,  on  the  basis  of  the  film  patents,  not 
to  sell  any  film  to  other  than  the  licensees  of 
the  Patents  Company.  The  only  other  makers 
of  film  were  European  concerns,  of  which  there 
were  three  of  importance,  Lumiere  of  Paris, 
who  will  be  remembered  as  the  inventor  of  the 
Cinemetographe,  Austin  Edwards  of  London, 
and  the  Agfa  brand  from  German}'.  Ship- 
ments were  often  irregular  and  the  quality  of 
the  product  was  uncertain.  None  of  the  im- 
ported brands  were  as  satisfactory  as  East- 
man's and  in  this  the  "Trust"  held  a  vast 
advantage. 

THERE  was  one  tiny  loophole.  The  East- 
man company  under  its  agreement  sold 
limited  amounts  for  the  purposes  of  scientific 
investigation.  Only  little  could  be  obtained  in 
that  way,  but  through  various  guises  and 
agents,  the  Independents  got  what  they  could. 
Also,  Eastman  shipments  to  foreign  countries 
were  not  restricted.  The  Imp  engineered 
several  large  shipments  to  China  via  Vancouver 
and  intercepted  them  on  the  docks  at  Van- 
couver to  turn  them  about  and  send  the  film 
to  New  York. 

While  the  licensed  makers  of  films  of  the 
Patents  Company  group  were  safeguarding  the 
methods  of  the  business  with  all  of  the  secrecy 
possible  the  Moving  Picture  News,  the  Inde- 
pendent organ,  was  busy  publishing  every 
available  fact  of  film  making  processes. 

Eugene  Louis  Lauste,  the  French  mechanic 
we  first  discovered  in  an  early  chapter  as  a 
former  Edison  employee  who  built  Major 
Latham's  first  machine  to  project  the  motion 
picture  on  the  screen,  became  the  author,  in 
1909,  of  a  series  of  articles  on  the  laboratory 
processes  of  film  developing,  printing,  tinting 
and  toning. 

An  exhaustive  series  of  articles  quoted  from 
British  journals  was  published  to  show  that  the 
[ate  William  Friese-Greene,  an  English  photog- 
rapher and  pseudo-scientist,  was  in  fact  the 
real  inventor  of  the  motion  picture.  All  this 
despite  the  fact  that  Friese-Greene's  claims  had 
some  years  before  been  amply  aired  and  inves- 
tigated in  the  Biograph-Edison  war.  If  there 
had  been  any  merit  of  priority  in  the  conten- 
tions of  the  Englishman,  Biograph  would  have 
proved  it  against  Edison. 

But  now  Friese-Greene's  alleged  inventions 
were  held  up  to  the  world  of  the  motion  picture 
to  justify  and  encourage  the  Independents. 

The  tremendous  prosperity  of  the  licensed 
manufacturers  plus  a  very  evident  American 
preference  for  American  made  pictures  led  J.  A. 
Berst,  representing  Pathe  of  Paris,  to  urge  the 
opening  of  a  Pathe  American  plant  for  the 
making  of  pictures  here  for  the  vastly  develop- 
ing American  market. 

In  April  of  1910  the  Pathe  establishment 
started  in  a  remodelled  cash  register  factory  in 
Bound  Brook,  New  Jersey.  Among  the  first 
players  of  the  Pathe  organization  whose  names 
may  be  remembered  today  were  Paul  Panzer 
and  Octavia  Handworth,  who  had  been  trained 
in  the  Vitagraph  studios,  Pearl  White,  a  vaude- 
ville performer  with  a  dash  of  picture  expe- 
rience with  the  Powers  Company,  and  Crane 
Wilbur.  Louis  Gasnier  came  from  Pathe's 
French  studios  to  be  the  first  director. 

At  almost  the  same  time  the  Pathe  Weekly, 
a  notable  news  reel  which  continues  the  out- 
standing success  in  its  field  today,  was  issued, 
with  H.  C.  Hoagland  its  first  editor. 


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The  news  reel,  however,  took  its  origin  in 
France  with  the  Pathe  Journal,  beginning 
somewhat  earlier.  And  in  Paris  in  that  day, 
the  interest  in  news  pictures  was  so  great  that 
a  theater  known  as  the  Pathe  Journal  wis 
maintained  for  the  exclusive  showing  of  news 
pi<  tures. 

The  motion  picture  was  beginning  to  show 
evidences  of  an  evolutionary  tendency  toward 
a  much  more  complex  form  and  a  fuller  devel- 
opment as  a  medium  of  expression.  The  rela- 
tion of  the  printed  word  in  screen  titles  to  the 
ensuing  action  was  yet  undeveloped  and  the 
titling  of  '09  and  '10  was  crude  to  the  extreme. 

In  many  establishments,  notably  the  Imp. 
big  rolls  of  stock  titles  which  could  be  used  in 
most  any  drama  were  kept  on  hand,  ready 
printed.  The  stock  title  list  included  all  such 
vital  expressions  as,  "The  next  day,"  "Ten 
years  elapse,"  "Happy  ever  afterward,"  "For- 
given," "Wedding  bells,"  and  "One  hour 
later."  The  titles  were  hauled  down  by  the 
yard  and  inserted  where  needed,  by  Jack 
Cohen,  Imp's  film  editor. 

The  student  of  motion  picture  technique  will 
find  it  of  interest  that  the  average  motion  pic- 
ture of  1909-10  contained  only  eighty  feet  of 
titles  per  reel  of  a  thousand  feet.  The  same 
screen  footage  today  requires  ordinarily  close 
to  two  hundred  and  fifty  feet  of  titles.  The 
screen  story  of  today  cannot  all  be  told  by  the 
camera. 

BUT  the  dramatic  picture  in  1909  had  not  yet 
come  into  the  well  near  absolute  dominance  of 
the  theater  screen  which  obtains  today.  Topi- 
cal subjects,  camera  records  of  actualities,  still 
made  up  a  pronounced  percentage  of  the  total 
output  of  motion  pictures. 

One  of  the  topical  screen  sensations  of  the 
fall  of  '09  was  the  Great  Northern's  pictures  of 
the  arrival  of  Doctor  Frederick  Cook  at  Copen- 
hagen in  Denmark,  after  his  then  entirely 
accredited  discovery  of  the  alleged  North  Pole. 
The  Great  Northern,  as  it  was  known  in 
America,  was  the  leading  Scandinavian  concern, 
better  known  in  earlier  days  as  the  Nordisk. 
The  Great  Northern,  was  represented  in  New 
York  by  Ingvald  C.  Oes,  who  figured  in  many 
of  the  movements  of  the  Independents  with 
whom  the  Great  Northern  was  aligned  after 
the  formation  of  the  Patents  Company. 

Reference  to  Doctor  Cook  recalls  a  slender 
but  interesting  connection  with  the  motion 
picture.  When  Cook  came  to  New  York  to  get 
out  his  book  of  North  Pole  adventures,  chance 
brought  into  his  service  as  secretary,  Agnes 
Egan,  now  Agnes  Egan  Cobb.  Agnes  Egan 
is  interesting  as  the  first  woman  to  conduct  a 
motion  picture  exchange.  She  had  been  a  sec- 
retarial employe  in  Wall  street  in  1908,  when 
she  saw  business  opportunity  in  the  motion 
picture  and  came  up  town  to  open  the  Joselyn 
exchange,  which  sub-rented  reels  from  Kessel 
and  Baumann's  Empire  Film  Exchange.  Ex- 
perience of  the  intricacies  and  devious  channels 
of  the  film  business  perhaps  well  fitted  Miss 
Egan  for  the  transcribing  and  editing  of  Doctor 
Cook's  manuscript.  For  months  she  puzzled 
over  the  notes  out  of  which  his  interesting,  but 
slightly  inaccurate,  account  of  finding  the 
North  Pole  was  written.  Cook's  notes  were 
written  in  such  a  tiny  microscopic  hand  that 
Miss  Egan  had  to  read  them  with  a  microscope. 
After  this  literary  digression  in  Polar  fiction, 
Miss  Egan  returned  to  the  motion  pictures. 

The  topical  tendency  which  made  so  much  of 
Doctor  Cook  on  the  screen  was  also  exempli- 
fied in  such  pictures  as  Mark  M.  Dintenfass' 
first  production  under  his  "Champion"  brand, 
a  picture  purporting  to  cover  the  ride  of  Louis 
and  Temple  Abernathy,  sons  of  Catch'em- 
Alive-Jack  Abernathy,  of  Oklahoma,  who  came 
by  pony  from  Oklahoma  to  New  York,  re- 
leased in  July,  1910.  It  was  all  made  in  New 
Jersey. 

In  story  and  topicals  alike  the  one-reel  pic- 
ture had,  by  this  time,  become  fairly  well 
established,  but  there  was  an  abundance  of 
"  split  reels,"  which  included  a  number  of  short 
comedies  and  sometimes  scenic  bits.  Biograph, 
of  the  licensed  manufacturers,  notably  issued 

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many  split  reel  comedies  held  in  special  esteem- 
It  was  in  that  busy  Biograph  school  of  film 
comedy  that  the  fundamentals  of  the  screen 
comedy  art  were  established. 

The  first  significant  breaking  over  to  multi- 
ple reels  came  from  the  European  studios,  not- 
ably with  the  "Fall  of  Troy,"  and  other  like 
subjects  equally  unsuitable  for  American  con- 
sumption. The  motion  picture  theater  was  not 
vet  prepared  to  believe  that  the  public  would 
be  interested  in  any  subject  that  occupied  more' 
than  one  reel,  or  fifteen  minutes  of  screen  time. 

In  the  fall  of  '09  Commodore  Blackton.  at 
Vitagraph,  produced  "The  Life  of  Moses"  in 
five  reels.  But  it  was  released  a  reel  at  a  time, 
one  reel  a  week  for  five  weeks,  beginning  in 
January,  1910.  No  theater  thought  of  trving 
to  present  a  full  five  reel  show.  They  did  not 
consider  Moses  a  big  enough  drawing' card. 

Vitagraph  followed  this  pretentious  effort 
with  a  three  reel  version  of  "Uncle  TonA 
Cabin,"  also  released  a  reel  at  a  time,  in  July 
of  the  same  year. 

The  birth  of  the  feature  picture,  which  today 
dominates  the  program  of  every  motion  pic- 
ture theater,  is  to  be  traced  back  through  the 
legitimate  theater. 

T\7HAT  appears  to  have  been  the  beginning 
w  of  the  feature  movement,  interestingly 
enough,  is  to  be  accredited  to  Pittsburgh.  Pa., 
in  1909,  where  five  years  before  John  P.  Harri- 
and  Harry  Davis  of  the  Grand  Opera  House 
started  the  motion  picture  theater  movement 
'in  the  East,  liberating  the  film  art  from  the  con- 
strictions of  vaudeville  programs.  In  this  1009. 
P.  P.  Craft,  a  showman  of  experience,  with 
Colonel  Cody,  went  into  the  film  business  with 
Harris  and  Davis. 

_  Craft  thought  he  saw  opportunity  for  motion 
picture  entertainment  on  a  grander  scale.  He 
was  full  of  the  show  instinct  and  an  apprecia- 
tion of  the  public's  liking  for  things  done  in  a 
spectacular  way.  He  arranged  to  put  out  ;i 
screen  road  show  to  be  called  "Harry  Davis 
Motion  Pictures  —  Direct  from  the  Grand 
Opera  House,  Pittsburgh!"  The  plan  was  fine, 
but  pictures  of  a  quality  to  support  a  road  show 
charging  fifty  cents  admissions  in  legitimate 
theaters  were  not  to  be  had. 

Craft's  next  step  was  to  plan  production.  If 
he  could  not  buy  the  pictures  he  wanted  he 
would  proceed  to  make  them.  He  was  inspired 
of  the  notion  that  "The  Life  of  Buffalo  Bill" 
would  make  a  drawing  title.  He  pursued  the 
Buffalo  Bill  show  and  overtook  it  on  the  lot  at 
Williamsport,  Pa.  Craft  dickered  for  a  con- 
tract and  got  it,  paying  Major  Lillie,  Colonel 
Cody's  manager,  a  thousand  dollars  in  paper 
bills  across  the  ticket  wagon  counting  table. 

In  New  York,  Craft  found  P.  A.  Powers 
sufficiently  alert  to  outside  opportunities,  amid 
the  turmoil  of  the  battles  of  the  industry,  to 
be  interested.  Powers  and  Craft  became  part- 
ners in  the  project.  Paul  Panzer,  who  had 
made  his  screen  debut  with  Vitagraph,  was 
employed  as  director.  They  proceeded  to  shoot 
large  quantities  of  film.  When  the  shooting 
was  all  over  and  the  dust  settled  in  the  editing 
room  it  was  found  that  the  only  usahle  film  was 
that  portion  of  Colonel  Cody's  story  devoted 
to  the  Wild  West  show.  The  picture  was 
assembled  in  three  reels  and  offered  for  state's 
rights  sale. 

Hyman  Winik  bought  the  first  state.  Cali- 
fornia, and  opened  with  the  picture  in  San 
Francisco.  The  picture  was  a  pronounced 
success.  Craft  and  Powers  divided  a  net  profit 
of  fifty  thousand  dollars,  which  in  that  period 
was  a  sensational  figure  for  a  single  picture. 

This  first  feature  was,  of  course,  an  Inde- 
pendent, or  unlicensed,  production.  It  caused 
many  exhibitors  to  become  Independents, 
sometimes  against  their  will,  as  the  Patent ; 
Company  cancelled  the  licenses  of  all  theaters 
playing  unlicensed  films. 

It  is  significant  that  the  feature  picture  be- 
gan with  the  Independents.  It  so  continued 
through  all  the  history  of  the  time. 

In  the  midst  of  the  legal  difficulties  of  the 
Independents,  just  when  they  were  hardest 
pressed  by  the  legal  armies  of  the  Motion  Fie 


Photoplay  Magazine — Advertising  Section 


109 


ture  Patents  Company,  there  appeared  an  un- 
expected promise  of  escape  in  the  guise  of  a 
timely  invention,  a  new  and  presumably  non- 
infringing camera. 

And  once  again,  after  these  many  years  since 
their  launching  from  the  workshops  of  Thomas 
A.  Edison,  at  Orange,  the  destinies  of  the 
phonograph  and  the  motion  picture  met,  by  a 
most  curiously  circuitous  route. 

Down  in  Washington,  back  in  1895-6,  C. 
Francis  Jenkins,  after  the  termination  of  his 
connection  with  Thomas  Armat,  with  whom 
he  had  worked  on  an  early  phase  of  the  pro- 
jection machine  invention,  had  become  con- 
cerned with  motion  picture  exhibitions  at  the 
phonograph  parlors  conducted  by  the  Colum- 
bia Phonograph  Company  in  Washington,  Bal- 
timore and  Atlantic  City.  This  connection  had 
resulted  subsequently  in  the  acquisition  of 
some  of  Jenkins  devices  and  a  claim  on  an 
interest  in  a  patent  which  had  been  issued  to 
Armat  and  Jenkins.  There  was  a  jumble  of 
litigation  involved  and  for  many  years  the 
patent  rights,  regardless  of  what  their  merit 
may  have  been,  reposed  sleeping  in  the  Co- 
lumbia Company's  safe. 

Now  in  1909  Joseph  Bianchi,  who  had  been  a 
recording  expert  for  the  Columbia  concern  and 
a  master  of  intricate  mechanics,  sought  out 
Paul  Cromelin,  vice-president  of  the  Columbia 
Company,  to  interest  him  in  a  new  and  re- 
markable camera  for  the  making  of  motion 
pictures. 

Together  Bianchi  and  Cromelin  went  down 
to  Brooklyn  Bridge  to  make  a  test  of  the 
camera.  There  was  a  tinge  of  coincidence  in 
their  selection  of  this  spot.  Down  under  the 
bridge  at  their  feet  stood  the  old  red  brick 
building  at  35  Frankfort  street,  where  fifteen 
years  before,  that  historic  night  in  February  of 
1895,  Woodville  Latham's  eidoloscope  threw 
the  first  motion  picture  on  the  screen. 

Cromelin  was  struck  with  the  significance  of 
the  invention  that  Bianchi  set  before  him. 
The  Bianchi  camera  performed  the  amazing 
feat  of  recording  motion  pictures  upon  a  nega- 
tive film  in  continuous  movement.  Instead  of 
the  start  and  stop  intermittent  motion  of  the 
Edison  cameras,  and  all  other  cameras  in  the 
world,  Bianchi  used  an  optical  system  involv- 
ing a  cylindrical  lens  which  bent  the  light  rays 
and  let  the  image  follow  the  film  as  it  traveled. 
This  camera,  therefore,  did  not  require  the 
Edison  intermittent  movement  or  the  Latham 
loop  for  supplying  slack  in  the  film  to  take  up 
the  inertia  of  the  start  and  stop,  that  came  six- 
teen times  a  second  in  the  Patents  Company 
cameras. 

THIS  was  in  the  nature  of  a  mechanical  revo- 
lution. It  promised  to  upset  the  whole 
foundation  upon  which  the  Motion  Picture 
Patents  Company  had  been  formed. 

Cromelin  was  vastly  interested,  but  his  asso- 
ciates of  the  Columbia  Phonograph  Company 
were  not.  They  thought  exceedingly  little  of 
the  motion  picture  business  and  its  embattled 
chieftains.  In  time  Cromelin,  however,  pre- 
vailed sufficiently  to  proceed  with  a  plan  in 
behalf  of  the  Independents.  Upon  the  basis 
of  the  purchase  of  patents  from  C.  Francis 
Jenkins,  Columbia  claimed  ownership  of  the 
basic  principles  of  the  projection  machine,  and 
by  virtue  of  the  Bianchi  camera,  purchased 
from  the  inventor,  Columbia  possessed  also  an 
independent  method  of  making  pictures  for  the 
screen. 

The  Independents,  weltering  in  patent  prose- 
cutions, were  called  together  and  heard  a  pro- 
posal that  they  buy  licenses  from  the  Columbia 
Company,  to  use  the  new  Bianchi  camera  and 
operate  under  the  shelter  of  the  combined 
camera  and  projection  machine  patents. 

The  proposal  was  greeted  with  a  glad  ac- 
claim. A  majority  of  the  Independents  took 
out  licenses  forthwith,  among  them  P.  A. 
Powers,  Mark  Dintenfass,  with  his  Champion 
brand  pictures,  and  Edwin  Thanhouser,  who 
was  just  entering  the  field. 

This  Thanhouser,  incidentally,  is  worthy  of 
special  note  here  because  of  the  well  ordered 
^teps  of  his  entry  into  the  art  of  the  motion 


About  a  girl  who  couldn't 
stop  loving 

"One  of  the  'biggest'  pictures  made  in  years  is  'The  White  Rose' 
because  it  is  so  very,  very  human  .  .  .  comes  as  near  being  a  REAL 
picture  as  we  have  seen  in  years  .  .  .  1 1  is  an  unqualified  success  .  .  . 
and  Mae  Marsh  reaches  out  and  twangs  away  at  a  mighty  sad  little 
symphony  on  one's  heart  strings,  and  never  strikes  a  discord." 

— Don.  Allen  in  Eve.  World. 

"Aimed  straight  at  your  heart,  it  hits  the  mark  —  boldly  tearing  away 
the  old  dual  standard  of  morals,  and  showing  man  accepting  blame 
for  the  sin  along  with  the  woman  —  inspiring  and  moving  —  One  of 
the  finest  things  D.  W .  Griffith  has  eoer  made.  And  if  you  want  to  see 
art  in  the  cinema,  see  Mae  Marsh  as  'Teasie.'" 

—  Quinn  Martin  in  the  World. 

"It  easily  ranks  with  the  most  important  pictures  made  in  America. 
The  acting  is  magnificent ;  as  fine  as  the  screen  can  boast." — The  Sun. 

'"The  White  Rose'  is  indeed  a  triumph  for  its  splendid  cast." 

— P.  W.  Gallico  in  The  News. 

"It  is  the  best  picture  Mr.  Griffith  has  made  since '  The  Birth  of  a  Nation  ' — 
Try  as  you  may  to  resist  its  appeal,  it  will  make  you  smile,  laugh 
and  weep — The  dawning  of  love  between  the  preacher  and  this 
flowerlike  girl  magnificent,  one  of  the  most  gloriously  beautiful  passages 
in  all  Mr.  Griffith's  pictures — Once  you  are  into  the  heart  of  the 
story,  it  is  inescapable."  — Leo  Pollock,  Eve.  Journal. 

"A  singularly  fine  picture — and  the  treatment  of  the  big  dramatic 
moments  is  superb — It  is  beautified  and  exalted  by  the  presence  of  that 
exquisite  creature,  Mae  Marsh,  the  divinely  inspired.  The  scenes  are 
marvelously  beautiful."  — Robert  Sherwood  in  The  Herald. 

"For  Griffith  is  a  great  poet." 

—  Max  Reinhardt,  famous  German  Producer. 

"Another  pictorial  and  sentimental  gem — Doubtful  if  the  Magician 
Griffith  has  ever  done  anything  finer  —  An  unusually  superior  picture, 
and  one  that  reaches  the  heart  with  its  presentation  of  a  new  angle  of 
the  moral  code;  and  establishes  the  dual  responsibility  in  the  moral 
code  in  which  the  woman  pays  perhaps,  but  not  alone." 

— Journal  of  Commerce. 

"Again  'The  White  Rose'  proves  Griffith  the  master  of  the  screen 
technique — sways  the  audience — a  very  human  bit  of  life  with  a 
very  strong  heart  appeal."  — Morning  Telegraph. 

"  'The  White  Rose'  is  sermon,  poem,  and  great  love  drama,  all  in  one, 
with  laughter  full  of  tears — presenting  the  big  moments  in  little  lives; 
beauty  in  simple  and  even  sordid  things;  the  basic  principle  in 
which  the  world  —  yours  and  mine — -actually  moves.  It  sends  one 
home  with  something  unforgettable,  with  a  heart  hunger  for  a  better 
humanity."  — Sophie  Irene  Loeb,  famous  publicist  and 

president  of  the  Child  Welfare  Board. 

D.  W.  GRIFFITH'S 

The  White  Rose 

For  Release  by  the  United  Artists  Corporation 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


no 


Photoplay  Magazine — Advertising  Section 

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picture.  While  a  large  majority  of  the  makers 
of  motion  pictures  were  plunged  into  the  busi- 
ness as  the  result  of  the  whims  of  chance, 
Edwin  Thanhouser  did  it  with  calm  delibera- 
tion and  forethought.  Thanhouser  had  accu- 
mulated a  modest  fortune  as  a  dramatic  pro- 
ducer with  a  German  stock  company  in  Mil- 
waukee, Wis.  He  was  ready  to  quit  the  stage 
when  the  motion  picture  intrigued  his  fancy. 
He  came  to  New  York  and  went  about  investi- 
gating and  inquiring.  There  were  conferences 
and  conversations  with  Rich  G.  Hollaman,  of 
the  Eden  Musee  in  Twenty-third  street,  still 
something  of  a  national  institution  of  the 
motion  picture,  beginning  back  in  the  days 
when  it  offered  the  Lumiere  cinemetographe  in 
competition  with  the  Armat  Vitascope  at  Ros- 
ter &  Bials.  And  from  Adam  Ressel  of  the 
"Bison  Life  Motion  Pictures,"  made  by  the 
New  York  Motion  Picture  Corporation,  Than- 
houser gathered  further  information  and  assur- 
ance. 

So  in  an  old  skating  rink  converted  into  a 
studio  Thanhouser  began  operations  in  March 
of  1910,  in  New  Rochelle.  New  York,  the  town 
known  to  the  world  by  musical  comedy  fame 
as  "Forty-five  Minutes  from  Broadway"  and 
known  for  that  only. 

But  in  New  Rochelle  atThanhouser's  studio 
many  an  important  screen  career  took  its 
beginnings,  and  there  Thanhouser  rapidly 
increased  his  fortune. 


IN  the  advertising 
the  other  Independents,  the  phrase 


of  Thanhouser  and  many  of 
Colum- 
bia Licensed"  was  flung  bravely  across  the 
page  as  their  reply  and  defy  to  the  Motion 
Picture  Patents  Company  with  its  licensed 
studios,  licensed  exchanges  and  licensed  pro- 
jection machines. 

To  give  the  gesture  its  full  dramatic  worth, 
some  of  these  advertisements,  notably  those  of 
P.  A.  Powers,  carried  large  and  imposing  illus- 
trations of  a  figure  of  Miss  Columbia  pointing 
to  an  imposing  shield  with  the  imposing  words 
of  announcement.  The  advertisement  looked 
as  official  as  the  great  seal  of  the  United  States 
of  America. 

It  was  intended  to  give  courage  to  the  theater 
men  out  in  the  provinces,  who  were  not  a  little 
intimidated  by  the  ponderous  and  thunderous 
announcements  being  made  by  the  Patents 
Company. 

But  the  very  word  "license  "  was  malodorous 
in  the  nostrils  of  the  Independents.  It  stood 
for  everything  that  was  in  their  way.  It  was 
back  of  all  their  troubles.  It  was  the  fighting 
word  of  1909-10.  An  elegant  sample  of  the 
fighting  literature  of  the  time  was  issued  by 
Joseph  R.  Miles,  an  Independent  exchange 
man.  It  was  a  pamphlet  which  quoted  the 
Patents  Company's  printed  statements  about 
its  license  system.  In  the  quoted  passages, 
however,  Miles  revised  the  orthography  to 
make  it  appear  "LICEnsed  manufactures, 
LICEnsed  exchanges,  LICEnsed  projections 
machines,"  etc.  Over  it  all  he  printed  a  title, 
"A  LOUSY  STATEMENT  from  the  PAT- 
ENTS COMPANY." 

Certain  technical  difficulties  arose  concern- 
ing the  Bianchi  camera,  else  the  history  of  the 
period  might  have  been  vastly  different.  Be- 
cause of  the  complexity  and  delicacy  of  the 
device  by  which  a  still  image  was  made  to 
pursue  and  keep  step  with  a  given  space  on 
a  rapidly  moving  film,  the  camera  required  the 
constant  attention  of  a  highly  skilled  operator. 
The  Independents  had  few  expert  cameramen. 
Largely  their  staffs  were  recruited  from  among 
the  helpers  and  minor  workers  in  the  dark 
rooms  of  the  licensed  studios.  In  the  hands  of 
these  half-experienced  operators  the  results  to 
be  obtained  with  the  Bianchi  camera  were  often 
speculative. 

But  in  the  early  period  of  the  Columbia 
licenses,  Paul  Cromelin,  who  had  fathered  the 
license  idea  and  who  alone  of  the  phonograph 
concern's  staff  was  interested,  was  called  away 
to  Mexico  on  phonograph  business  for  a  con- 
siderable period.  Also  Joseph  Bianchi,  selling 
his  camera  patents  to  Cromelin,  went  away  to 

[  TO  BE  CONTINUED  ] 


Atlanta,  where  he  conducted  a  motion  picture 
theater,  tar  trom  the  bickering,  embittered 
struggles  of  the  film  makers  in  New  York. 

Meanwhile  the  Columbia  licensed  Indepen- 
dents were  turning  back  to  their  old  infringing 
versions  of  the  Edison  patented  camera,  under 
various  covers  of  secrecy. 

Dintenfass  had  his  boiler  iron  camera  for- 
tress, to  conceal  the  machine  [from  even  the 
actors  and  none  of  the  Independent  studios 
could  be  entered  without  passing  the  scrutiny 
of  the  guards. 

Meanwhile  "Columbia  Licensed"  continued 
the  outward  cloak  of  the  new  authority,  yet  to 
be  tried  in  the  fire  of  litigation.  An  expedient 
of  typical  screen  strategy  of  the  day  was 
adopted  by  several  of  the  Independents.  Thcy 
purchased  from  the  unsuspecting  Columbia  the 
cases,  or  boxes,  of  the  Bianchi  camera,  and  then 
concealed  within  them  the  operating  mechan- 
ism of  their  old  infringing  cameras.  With  this 
camouflaged  machine  they  ventured  forth  on 
location  about  New  York,  right  in  the  face  of 
the  Patents  Company  investigators.  Now  and 
then  by  a  mistake  in  maneuvering  the  gumshoe- 
investigators  got  close  enough  to  hear  the 
familiar  click  of  the  Edison  intermittent 
movement  and  the  next  day  the  papers  in  a 
new  injunction  suit  would  be  served. 

When  Cromelin  returned  from  Mexico,  he- 
found  the  Columbia  Company  again  consider- 
ably annoyed  with  the  motion  picture  end  of 
its  affairs. 

To  the  phonograph  officials  the  motion  pict  u  re 
situation  was  a  jumbled  war  of  strange,  eva- 
sive, dodging  irresponsibles. 

A  considerable  number  of  the  "Columbia 
Licensed"  Independents  had  inconveniently 
forgotten  to  pay  their  license  fees  and  the 
whole  project  looked  too  complex,  difficult,  and 
unprofitable. 


■"pHE  end  of  the  Columbia  License  sally  into 
■*•  motion  picture  history  came  quietly  and 
secretly  in  the  summer  of  191 1.  after  a  period 
in  which  many  of  the  affairs  of  this  chapter 
had  passed.  Paul  Cromelin  was  still  convinced 
of  the  vast  potential  value  of  the  combined 
projection  machine  and  camera  rights  of  the 
Columbia.  When  the  Independents  expressed 
their  indifference,  he  turned  to  the  other  side. 
Approaching  Frank  L.  Dyer,  of  Edison,  an 
executive  of  the  Patents  Company  forces,  he 
negotiated  a  sale  of  the  Columbia's  motion 
picture  patent  interests.  How  much  the  Pat- 
ents Company  paid  remains  a  secret,  but  the 
first  payment  was  ten  thousand  dollars.  This 
step  completed  the  Patents  Company's  acquisi- 
tion. It  now  owned  all  that  there  was  to  be 
had  of  patent  rights  in  the  world  on  processes 
of  making  motion  pictures.  If  developments 
had  again  brought  the  Columbia  license  into  a 
position  of  special  significance  the  Patents 
Company  would  have  been  able  to  surprise  the 
Independents  with  an  unsuspected  and  new- 
legal  ambush.  But  by  the  vicissitudes  of  liti- 
gation and  the  turn  of  affairs  the  Bianchi- 
Columbia  rights  went,  into  the  vaults  of  the 
Patents  Company  with  that  purchase,  never 
to  see  the  light  of  day  again. 

"Columbia  Licensed"  had  been  swept  into 
the  limbo  of  the  unimportant  past  before 
occasion  arose  to  make  it  the  text  of  a  new 
era  of  litigation. 

While  the  affairs  of  this  chapter  were  en- 
folding in  the  intensely  complex  development 
of  the  business  of  the  motion  picture,  the  simple 
factor  of  New  York  weather  was  exerting  a 
pressure  toward  a  change  in  the  geography  of 
the  industry. 

The  sunshine  of  the  South,  in  Cuba,  Florida 
and  even  remote  California,  began  to  lure  the 
cameras  of  the  picture  makers. 

The  rush  to  Los  Angeles  was  about  to  begin, 
and  with  the  invasionof  California,  new  names 
and  faces  were  coming  to  the  screen. 

Hollywood,  now  the  west  end  of  Broadway, 
was  being  planted  to  oranges  and  lemons  then. 

The  early  days  of  the  motion  pictures  in 
California  will  be  the  subject  of  the  next 
chapter. 


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i  i  I 


Love  and  Let  Love 

[  CONTINUED  FROM  PAGE  43  ] 

manager.      "He's   crabbed    my    best    stunts. 
You  know  that  big  ball  and  reception  I  was 
planning?" 
"Yes." 

"Well,  he  says  there's  nothing  doing.  He's 
throwing  me  down.  He  could  grab  off  columns 
of  space  for  me — but  he's  nix  on  everything  ex- 
cept his  three-times-a-day  stuff  and  he  says  he 
wouldn't  be  doing  that  only  his  contract  makes 
him.  I  never  was  so  disappointed  in  a  feller  in 
all  my  life." 

Berenice  was  conscious  of  a  strange  admix- 
ture of  emotions.  The  paramount  feeling  in 
the  matter  was  one  of  keen  disappointment  in 
Cyril  Harrington.  He  was  nice — wonderfully 
nice — there  was  no  denying  that,  but  he  did 
not  at  all  conform  to  her  ideas  of  what  a  movie 
star  should  actually  be. 

He  was  neither  upstage  nor  dominant.  She 
resented  the  fact  that  she  felt  entirely  at  ease 
with  him.  Why,  he  wasn't  any  different  from 
dozens  of  men  she  knew,  and  she  had  looked 
forward  eagerly  to  meeting  a  flaming  person- 
ality. Cyril  Harrington  impressed  her  as  a 
mighty  nice  chap,  and  that  was  all. 

Long  before  the  hour  of  his  first  personal  ap- 
pearance the  house  was  filled  to  suffocation 
with  ladies  of  all  ages  and  conditions  of 
servitude  who  wished  to  glimpse  in  the  flesh 
the  young  gentleman  who  had — upon  the 
screen — made  love  a  fine  art.  The  house  man- 
ager had  insisted  upon  a  certain  clause  in  the 
contract  which  demanded  that  Cyril  appear  in 
desert  costume.  He  strolled  into  the  glare  of 
the  spotlight  and  thrilled  the  feminine  breasts 
with  his  screen  smile.  There  was  a  chorused 
A-a-a-ah!  of  horrified  delight  and  then  a  tidal 
wave  of  applause.  The  estimable  ladies  leaned 
forward  in  their  seats,  eyes  focussed  intently 
upon  the  turbaned  figure,  lips  parted  eagerly. 
It  was  as  though  each  arrogated  unto  herself 
the  delicious  danger  of  his  amorous  presence. 
Berenice  opened  the  tiny  door  of  her  box 
office  and  viewed  the  performance  with  keen 
interest.  For  the  first  time  Cyril  Harrington 
appeared  to  be  the  man  she  expected.  There 
was  the  strutty  screen  bearing,  the  arrogant 
smile,  the  ruthless  demeanor  which  brooked 
opposition  from  no  person  of  the  opposite  gen- 
der. Berenice  shivered  delightedly  and  her 
original  terror  of  this  magnificent  being  revived. 
The  short,  stereotyped  address  was  con- 
cluded, the  theater  rocked  with  gasping  en- 
thusiasm, Cyril  Harrington  disappeared.  And 
ten  minutes  later  he  stood  at  Berenice's  elbow. 
"Bunk,"  was  his  terse  comment. 

AGAIN  she  experienced  a  start  of  disap- 
pointment. Also  she  once  more  felt  en- 
tirely at  ease  and  was  angry  at  herself — and  at 
Cyril— because  she  did.  What  right  had  he  to 
rob  her  of  the  keenest  pleasure  of.the  greatest 
experience  of  her  life?  She  flung  around  on 
him  irascibly. 

"Gosh!  Bunk  is  right.  Up  on  the  stage  you 
had  me  scared  pink  for  fear  something  elegant 
was  about  to  happen  to  me,  and  now  when  you 
show  up  right  alongside  I  see  you  ain't  nothing 
but  an  ordinary  guy — and  hardly  that." 

He  grinned.  "Women  bore  me,"  he  an- 
nounced. "Not  you — no,  indeed,  not  you. 
But  women  as  a  whole.  You'd  think  I  was 
planning  to  elope  with  the  whole  caboodle  of 
'em,  the  way  they  eye  me.  As  a  matter  of  fact, 
there's  hardly  one  I  wouldn't  be  scared  to 
death  of  if  I  was  alone  with  her." 

"Even  me?" 

"No!  Not  you.  Because  between  us,  I 
know  I'm  not  going  to  get  fresh  with  you  and 
you  know  it,  too.  It's  a  relief  to  be  ith 
another  girl  who  understands  that  I'm  nothing 
to  be  frightened  of." 

Her  brow  puckered.    "Another?" 

"Uh-huh." 

"Who's  this  other  one?" 

He  became  suddenly  serious.  "I'd  sure  like 
to  talk  to  you  about  her.    Private." 

"The  story  of  your  life,  huh?" 


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"  You  said  it." 

"Well — shoot." 

"Can't — here.  If  we  could  go  out  after  the 
last  show  tonight  ..." 

Her  eyes   narrowed.     "Now  listen  ..." 

"G'wan:  you  know  I'm  not  going  to  try  any- 
thing with  you.  You  think  you  ought  to  be 
scared  of  me  but  you  couldn't  be  to  save  your 
life.    Haven't  you  ever  been  out  walking?  " 

"Ye-e-es." 

"  ind  didn't  you  come  through  safe?" 

"Mm-hmm!  But  them  fellers  wasn't  ex- 
actly the  ruthless  type." 

"Well,  a  minnow  is  ruthless  with  women 
compared  to  me.  I'm  no  more  at  ease  with  a 
girl  than  a  six-year-old  kid  is  with  the  boogey 
man.    But  of  course  if  you  think — " 

"Shucks!  I  reckon  if  I've  just  naturally  got 
to  take  a  chance,  it  might  as  well  be  with  you. 
Is  it  tonight?" 

"Tonight  is  correct.  What  time  do  you 
knock  off?" 

"Eleven. " 

"Until  then,"  he  said,  and  he  strolled  away. 

Throughout  the  long,  somnolent  afternoon 
Berenice  was  the  victim  of  delightful  uncer- 
tainty. She  felt  that  she  was  toying  with  fire 
and  her  clothes  were  not  fashioned  of  asbestos. 

THERE  was  an  intriguing  doubt  about  what 
the  night  held  forth.  Beneath  her  appre- 
hension there  was  a  nebulous  desire  that  he 
might  conform  more  closely  to  his  screen  char- 
acter than  to  the  flaccid  normality  she  had 
glimpsed.  An  ideal  had  been  shattered  and 
Berenice  could  not  in  an  instant  readjust  her 
preconceived  ideas  of  the  man's  personality. 

She  halfway  expected  him  to  call  for  her  in  a 
lavender  limousine,  but  he  did  nothing  of  the 
kind.  He  did,  however,  invite  her  into  a  soft- 
drink  stand  for  an  ice-cream  soda  where  she 
experienced  keen  regret  because  no  one  recog- 
nized him.  "It's  my  clothes,"  he  explained  in 
answer  to  her  unspoken  question.  "  Folks  have 
the  idea  that  I  should  go  through  the  streets  in 
a  turban,  dragging  beauteous  damsels  by  the 
hair  of  the  head." 

It  was  only  after  they  had  surrounded  the 
sodas  with  themselves  and  attained  the  broad 
moonlit  expanse  of  the  city's  chief  residential 
boulevard  that  he  touched  upon  the  subject 
which  lay  nearest  his  heart. 

"Never  mind  the  girl's  name,"  he  started. 
"She  isn't  in  pictures  anyway.  But  she's  a 
corker,  and  she  thinks  about  the  same  of  me 
that  you  do." 

"Meaning?" 

"That  I'm  a  poor  fish." 

"Gosh!    You?" 

"Yes — me.  For  three  months  I've  been  try- 
ing to  get  that  girl  to  foxtrot  with  me  up  to  the 
altar  and  all  she  does  is  to  give  me  the  laugh." 

"Ain't  you  even  engaged?" 

"No." 

"Why  not?" 

"Because,"  he  said,  "I  have  never  had  the 
nerve  to  propose." 

"Aw  say — " 

"  On  the  level  I  haven't.    I  get  tongue-tied." 

"Ain't  you  even  kissed  her?" 

"Holy  smoke!    No!" 

"Why  not?" 

"She'd  get  sore." 

Miss  Berenice  Rogers  stopped  in  her  tracks. 
"Now  listen  to  me,  Mr.  Cyril  Harrington — I 
can  stand  kidding  as  well  as  the  next  one,  but 
I  aint  no  boob.  Their  ain't  no  man  living  in  this 
century  which  is  as  big  a  sap  as  you  claim  you 
are." 

"But  she  wouldn't  dream  of  letting  me  kiss 
her." 

"Letting!  Great  Grandmother!  girls  don't 
Irl  men  kiss  'em  these  days.  They  expect  to  be 
strongarmed.  Ain't  you  acting  that  way  all  the 
time?  Ain't  kissing  girls  your  regular  day's 
work?    Ain't  that  what  you  get  paid  for?" 

"Sure — but  that's  picture  stuff.'' 

"Picture  stuff — sure.  But  you  know  what 
you  and  those  other  heavy  lovers  of  the  screen 
have  done — you've  established  a  style  in  love- 
making.  Any  girl  which  can't  get  made  love  to 
Cyril  Harrington  fashion  thinks  that  the  bird 


she's  with  is  the  cheese.  My  Gawd!  I  can't 
get  over  it — you  waiting  for  a  girl  to  ask  you 
please  to  kiss  her!    Excuse  me  while  I  chuckle." 

"All  right — I  reckon  it's  funny  to  you.  But 
it  isn't  to  me."  Silence  fell  between  them  for  a 
moment,  and  then:  "What  would  vou  have  me 
do?" 

"Grab  her.  Fling  them  sinewy  arms  of 
your'n  around  her  ruby  waist  and  implant  a 
little  passion  on  her  supple  lips.  Treat  her 
rough.  Make  her  understand  that  you're  the 
superior  male." 

"But,"  he  explained,  "I'm  not." 

"You  make  me  tired.  You  gimme  a  pain. 
You  aint  got  the  git-up-and-git  of  a  jellybean. 
You  don't  deserve  to  marry  no  girl.  And  it 
wouldn't  be  so  bad  if  you  wasn't  acting  grand 
every  day.  Say — there  ain't  a  dame  living — 
and  mighty  few  dead — which  wouldn't  leave 
their  happy  home  for  some  of  the  caveman 
stuff  you're  always  pulling.  They  love  it.  No 
woman  never  gives  in  because  she  just  wants 
to.  but  because  she  wants  to  be  made  to  want 
to.  She  likes  to  think  she  can't  help  it  and 
whatever  happens  is  the  guy's  fault,  'if  any. 
When  are  you  gonna  see  this  dame  again?" 

"I  don't  know.  I've  got  three  more  weeks 
booked  on  this  tour." 

"And  vou're  really  terrible  crazy  about 
her?" 

He  hesitated  for  one  brief  instant.  "Yes,  I 
guess  I  am." 

"Huh!"  she  mocked,  "You  guess  you  am. 
If  a  guy  ever  just  guessed  he  was  nuts  about 
me,  I'd  brain  him.  When  I  get  he-vamped  I 
want  it  done  powerful  and  complete." 

"Well,"  he  sighed,  "maybe  she  does,  too. 
But  I  don't  believe  it." 

"That's  because  you  don't  know  anything 
about  women,  Cyril,  and  you  don't  under- 
stand what  you  know." 

HpUESDAY  morning  found  Mr.  Harrington 
*■  deluged  with  mail  and  harassed  by  com- 
mittees which  struggled  ineffectually  to  snare 
him.  He  sought  sanctuary  in  Berenice's  box 
office  and  they  chatted  like  old  friends. 

A  night  of  intensive  thought  had  served  only 
to  add  to  her  puzzlement  regarding  this  mas- 
culine anomaly  who  taught  a  nation  to  make 
love  and  yet  was  himself  the  rankest  novice. 
Her  early  suspicion  that  he  was  posing  was 
utterly  dissipated  by  the  frank  terror  with 
which  he  dodged  earnest  committee-members 
and  the  look  of  horror  which  flashed  in  his  eyes 
each  time  some  ardent  female  cornered  him 
for  a  personal  interview. 

"Ain't  you  got  no  pep  at  all?  "  she  queried. 
"Ain't  you  learned  nothing  from  them  wild 
parties  in  Hollywood?  " 

"Yes,"  he  admitted  frankly,  "I  have.  I've 
learned  that  the  odds  are  all  against  the  man 
who  tries  to  fill  an  in-between  straight.  I  have 
learned,  in  fact,  about  everything  there  is  to 
learn  in  connection  with  a  male  world.  But  so 
far  as  women  are  concerned — " 

"There  ain't  no  such  thing  as  wild  parties 
without  women,  is  there?" 

"  I  guess  there  is.    I've  been  on  'em." 

"In  Hollywood?"    Incredulously. 

"  In  Hollywood." 

"Gosh!  You  ain't  doing  a  thing  to  me,  Cyril. 
First  of  all  I  thought  you  walked  around  with 
two  vamps  in  each  hand.  Second  I  thought 
you'd  never  notice  me  at  all  and  then  if  you  did 
that  you'd  try  to  get  fresh.  And  third  I 
thought  all  Hollywood  parties  were  wild,woolly 
and  sexy  .  .  .  and  here  you  come  along;  a 
nice,  rosy-cheeked  kid  which  is  scared  of 
women  and  tell  me  that  the  wildest  thing  you 
ever  done  in  Hollywood  was  to  grab  off  the 
fourth  ace.  Honest,  Cyril,  you're  too  good  to 
lie  true.  Or  too  true  to  be  good:  gosh  knows 
which." 

That  afternoon  he  suggested  a  repetition  of 
their  stroll.  She  accepted  with  alacrity.  She 
found  herself  strangely  attracted  to  this  modest, 
unassuming  young  man.  and  as  she  expressed 
it  that  night  on  a  secluded  park  bench — 
"  Every  once  in  so  often  I  got  to  kick  myself  in 
the  shins  to  remember  that  you're  Cyril  Har- 
rington, the  great  movie  star." 


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"Forget  it,"  he  commanded.  "I'm  sick  and 
tired  of  all  this  publicity  bunk.  That's  why  I 
like  you — you're  willing  to  let  me  act  natu- 
rally." 

When  they  parted  at  the  door  of  her  board- 
ing house  he  gazed  deep  into  her  eyes. 

"Darned  if  you  aren't  the  prettiest  girl  I 
know." 

"Huh!  Maybe  you  don't  know  how  to  act 
it,  but  you  sure  can  talk." 

"If  I  could  act  it,  I'd  kiss  you  good-night." 

"If  you  kissed  me  good-night;  you'd  kiss  me 
good-bye,  too." 

"  You  don't  mean  you've  never  been  kissed?  " 

"Not  hardly.  I've  been  kissed  more'n  a 
dozen  times  maybe.  But  there  aint  a  guy 
which  ever  planted  no  affection  on  my  lips 
which  didn't  get  regretful  pretty  soon  after." 

He  sighed  and  turned  away.  "Anyway,"  he 
flung  over  his  shoulder.    "I  want  to." 

The  following  morning  Berenice's  landlady 
stopped  her  in  the  hallway.  Airs.  Moriarty 
was  an  ample  and  worthy  widow  lady  with 
rigid  ideas  regarding  the  proprieties.  She  had 
read  voluminously  of  the  fiction  which  was 
popular  in  the  nineties  and  was  surfeited  with 
knowledge  concerning  the  precipices  along 
which  all  girls  constantly  walk. 

"Honey,"  she  said,  "you  had  better  be 
watching  your  step  a  bit  more  closely." 

"Meaning  Cyril  Harrington?"  queried 
Berenice  with  disarming  directness. 

"Meaning  him.  I've  seen  the  lad's  pic- 
tures, Berenice,  and  I'll  say  he's  positively  em- 
barrassing the  way  he  handles  young  ladies." 

"He  is — kind  of.    On  the  screen." 

"One  of  these  times  you're  gonna  let  your 
guard  down,  my  child,  and  then — " 

"And  then  he  won't  know  it.  He's  just  a 
nice  unspoiled  kid,  Mrs.  Moriarty.  I'm  so 
safe  with  him  I  think  there  must  be  something 
the  matter  with  me.  It's  downright  insulting, 
the  courtesy  he  treats  me  with.  You'd  think  I 
was  a  grandmother." 

"Well,"  expostulated  the  portly  lady. 
"You  ain't.  And  one  of  these  midnights  some- 
thing is  going  to  happen." 

"I  almost  wish  you  was  right,  Mrs.  M.  He 
spends  his  time  telling  me  how  crazy  he  is 
about  some  Eastern  dame  which  can't  see  him 
at  all." 

"  She's  crazy,  then,"  e'xploded  the  other.  "If 
I  was  a  bit  younger  and  more  shapely — Any- 
way, Berenice,  remember,  you've  got  the 
looks.  I  guess  you're  even  as  pretty  as  some  of 
these  here  movie  queens.  And  a  guy  which  can 
love  like  Cyril  Harrington  is  just  naturally 
bound  to  keep  in  practice.  From  what  I 
gather  you're  the  handiest  one  in  this  town  for 
him  to  practice  on." 

-  '""THAT  night  he  talked  considerably  less 
■*■  about  the  gelid  maiden  whom  he  loved  and 
considerably  more  about  himself.  She  liked 
his  frank  ingenuousness  and  gave  eager  ear  to 
the  recital  of  his  ambitions,  his  failures  of  the 
past  and  his  hopes  for  the  future.  But  the 
night  after  that — Thursday — he  steered  the 
conversation  in  her  direction. 

"You  aren't  always  expecting  to  work  in  a 
moving  picture  theater  box  office,  are  you?" 

"  Xo-o.  I  don't  guess  so.  But  I  don't  know 
no  railroad  presidents  which  needs  secretaries 
ri;,'ht  now  and  no  millionaire  ain't  thrown  his 
filthy  lucretia  at  my  feet  in  the  last  couple 
weeks." 

"Well,"  he  insisted,  "what  are  you  going  to 
do?" 

She  shrugged.     "Sort  of  slide." 

"And  some  day  marry?" 

"I  guess  so.  I  know  lots  of  girls  which  have 
done  that." 

"You're  too  fine  for  any  of  these  small  town 
hicks,"  he  said  with  unnecessary  emphasis.  "  I 
wonder  if  you  realize  how  you'd  look  in  a  real 
Paris  gown.    You  know  the  kind  I  mean — " 

"Sure — sure  I  know.    V  back  and  C  front." 

He  blushed  into  the  darkness.  "You  are 
stunning." 

"  Maybe  so,"  she  answered  philosophically. 
"  But  I  ain't  never  stunned  nobody  so  bad  that 
they  haven't  come  back  to  consciousness  pretty 


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quick.  I  reckon  I'm  built  for  looks  and  not  for 
speed." 

"Just  the  same,"  he  announced,  as  though 
she  had  disagreed  violently  with  his  last  re- 
markj  "you  possess  rare  beauty." 

On  Friday  night  he  begged  her  to  ride  with 
him.  He  drove  a  car  which  had  been  loaned  to 
him  by  a  local  automobile  agency  and  they 
went  out  across  the  mountain  and  dipped  into 
the  moon-drenched  valley  beyond.  There 
they  drove  for  more  than  an  hour  and  for  some 
inexplicable  reason  very  little  was  said  between 
them.  Once  she  touched  upon  the  subject  of 
the  lady  whom  he  desired  to  make  his  wife. 

"You  wanted  my  advice,"  she  said,  "and 
I've  given  it.  All  you  need  to  do  is  wait  until 
you  get  her  alone,  give  one  dying-duck  look  in- 
to her  downcast  eyes  and  do  a  clinch.  If  she 
hands  you  a  jolt,  just  hold  her  tighter.  You 
know,  the  way  you  done  to  Marise  Logan  in 
'Married  Bliss'." 

"That,"  he  retorted,  "was  merely  a  picture. 
And  Marise  isn't  exactly  the  resisting  kind." 

"Neither  is  any  dame  which  is  crazy  about 
you." 

"But  this  girl  is  not." 

"Tell  that  to  Sweeney.  Of  course  she  is." 
She  was  wordless  for  a  moment,  and  then — 
"  Anyway,  you  try  it — and  send  me  an  invite  to 
the  funeral." 

"It  does  sound  right,"  he  said.  "But  I  have 
a  hunch  it  wouldn't  work." 

"Which  just  proves  that  you  and  women  are 
strangers.  You  ain't  never  introduced  yourself 
to  this  girl  the  way  she  wants  you  to  be  intro- 
duced. Snag  her,  Cyril;  snag  her.  Grab  her  in 
both  hands  and  hold  what  you  got.  Maybe 
she's  icy  now,  but  I  ain't  never  seen  the  ice 
which  won't  melt." 

Throughout  the  week  the  Parthenon  had 
done  a  land-office  business.  Occasionally  some 
superenthusiastic  females  would  waylay  Cyril 
and  provide  themselves  with  a  nervous  thrill. 
Others  projected  themselves  into  the  role  of  the 
screen  leading  woman  and,  conscious  of  Cyril's 
physical  proximity,  received  a  vicarious  de- 
light. At  any  rate  the  theater  broke  its  own 
records  and  Saturday  promised  suffocating 
crowds. 

Miss  Berenice  Rogers  dressed  with  unusual 
care  that  morning.  The  previous  afternoon 
she  had  extracted  a  goodly  portion  of  her  sav- 
ings from  the  bank  and  invested  it  in  chiffon 
hose,  new  oxfords,  a  new  hat  and  a  bead  neck- 
lace which  she  had  long  coveted. 

SHE  was  unaccountably  depressed  during  her 
long  walk  to  the  Parthenon.  This  was 
Cyril's  last  day — and  she  liked  Cyril.  During 
the  week  her  preconceived  notion  of  him  had 
been  shattered  and  a  new  conception  had  sup- 
planted it. 

Somehow,  she  liked  the  Cyril  that  as  a 
great  deal  more  than  she  could  ever  have  liked 
the  Cyril  she  had  expected  him  to  be. 

He  chatted  with  her  a  bit  during  the  morn- 
ing but  in  the  afternoon  he  dared  not  remain 
about  the  theater.  And  that  night,  after  the 
last  performance,  he  met  her  in  the  car  which 
had  been  loaned  him  and  they  turned  word- 
lessly over  the  mountain,  crossed  the  valley 
and  ascended  to  the  crest  of  a  long  ridge  to  the 
south. 

He  drove  silently  and  parked  the  car  near  a 
bluff  which  commanded  a  view  of  the  valley 
below. 

"Let's  sit  here,"  he  suggested. 

They  sat  side  by  side  on  the  bank.  Berenice 
felt  herself  oppressed  by  melancholia.  She 
couldn't  understand  this  feeling  and  tried 
earnestly  to  shake  it  off.  Of  course  this  was 
good-bye  night,  and  good-byes  are  never 
pleasant,  but  just  the  same — "I'm  an  idiot," 
she  scourged  herself,  "A  plumb  fool." 

Tor  awhile  they  sat  there  in  silence.  It  was 
his  voice  which  punctured  the  stillness. 

"Well,  Berenice,  I'm  getting  out  in  the 
morning." 

"Yep — I  know." 

"Sorry?" 

"I  ain't  exactly  cheering  about  it." 

"  You  do  like  me  a  little,  don't  you?" 


"Well,  I  wouldn't  go  quite  that  far.  I'd  go  a 
heap  farther." 

"  Aw  say  .   .   ." 

She  Hung  around  on  him,  a  hint  of  hysteria  in 
her  tones.  "Snap out  of  it,  Cyril.  For  the  love 
of  Mike,  let's  don't  get  sobby.  I  like  you,  and 
I  reckon  you  like  me  a  bit — even  if  I  have  just 
been  a  female  clearing  house  for  your  troubles. 
If  I've  helped  you  in  your  love  affair  then  I've 
paid  back  for  the  pleasant  week  you've  given 
me — and  we're  quits." 

He  nodded  solemnly. 

"You've  helped — a  lot.  I've  learned  a  heap 
of  things  this  week." 

Again  the  inexplicable  cessation  of  dialog. 
The  minutes  lengthened  into  a  half-hour  and 
crawled  slowly  toward  midnight.  Each  felt 
the  urge  to  talk,  to  make  the  most  of  these  last 
few  precious  moments  together,  but  there 
seemed  nothing  to  be  said. 

He  regarded  her  out  of  half-closed  eyes.  She 
was  beautiful  as  she  sat  there  staring  pensively 
across  the  silvered  valley. ,  Her  hand  lay  very 
close  to  his — she  herself  was  unduly  far  away. 
And  then,  as  he  watched,  she  rose  slowly  to  her 
feet,  and  he  stood  beside  her.  They  turned, 
faced  one  another — 

Without  thought  or  word  his  arms  were 
about  her,  and  he  held  her  tight  against  him. 
His  lips  sought  hers  hungrily — 

For  an  instant  her  body  relaxed  and  her  lips 
clung  eagerly  to  his. 

For  an_  infinitesimal  eternity  of  time  she 
revelled  in  the  exquisite  sweetness  of  his 
embrace. 

The  moment  passed.  A  sense  of  danger 
smote  her  and  she  tried  to  tear  away,  but  his 
clasp  was  vise-like.  She  ripped  one  arm  free. 
She  slapped  his  face — slapped  it  hard.  He 
stepped  back. 

"Berenice  .  .  ." 

She  throttled  an  almost  overpowering  im- 
pulse to  fling  herself  again  in  his  arms.  A 
sense  of  outrage  vanquished  the  temporary 
happiness. 

Her  voice  came,  cold  and  hard — but  trem- 
bling. 

"I'm  sorry,"  she  said  softly.  "And  ashamed. 
I  didn't  think  you'd  pull  nothing  like  this." 

He  extended  his  hand.    "Listen — " 

"I  ain't  gonna  listen  to  nothing.  I  guess 
you've  got  me  sized  up  all  wrong.  I  reckon 
you  thought  when  I  was  fool  enough  to  take 
these  midnight  rides  with  you  I'd  stand  for 
anything.    Well,  I  won't.    Now,  let's  go." 

HE  fell  into  step  beside  her  and  sought  to 
put  his  hand  upon  her  arm.  She  jerked 
away.  At  the  car  he  faced  her.  Then,  once 
again  he  caught  her  in  his  arms.  He  exhibited 
unsuspected  strength  as  he  held  her  motionless, 
forced  her  head  back  and  implanted  upon  her 
upturned  lips  the  same  clinging  kiss  which  she 
had  seen  him  bestow  upon  Marise  Logan  in 
'Wedded  Bliss.' 

She  tried  to  tear  away,  but  could  not.  Her 
eyes  blazed  into  his. 

"You  better  let  me  go,  Cyril,"  she  said 
quietly. 

"  Why ?  "  he  demanded.    "  Why? ' ' 

"Let  me  go." 

He  laughed  shortly. 

"Haven't  you  been  telling  me  all  week  I 
could  get  away  with  this  strong-arm  stuff  if  I 
wanted  to?  Haven't  you  been  saying  that  no 
woman  would  resist  me?  " 

"Maybe  I  have,"  she  said  levelly,  "but  I 
wasn't  talking  about  myself.  You  take  my 
advice,  Mr.  Cyril  Harrington,  and  try  this 
stuff  on  the  dame  you  want  to  marry — "tf'< 

He  held  her  head  in  both  hands  so  that  his 
eyes  were  very  close  to  hers, 

"You  poor  little  fool,"  he  cried,  "can't  you 
understand  that  I'm  doing  just  exactly  that!" 

She  stared.  Then  a  sensation  of  unutterable 
contentment  came  to  her  and  she  went  limp  in 
his  arms. 

From  close  against  his  breast  her  voice — 
happy  and  afraid — came  to  his  ears. 

"Gee!  Cyril,"  she  said,  "I  never  would  of 
believed  that  I'd  quit  the  old  Parthenon  with- 
out giving  'em  two  weeks'  notice." 


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Photoplay  Magazine — Advertising  Section 


IJ5 


Does  The  Camera  Lie? 

[  CONTINUED  FROM  PAGE  33  ] 

in  front  of  the  camera,  they  use  miniature 
structures,  built  in  exact  detail  and  proportion 
to  correspond  with  the  actual  set.  In  "Scara- 
mouche,"  Mr.  Ingram's  latest  production,  you 
will  see  a  very  beautiful  French  chateau.  The 
chateau  was  constructed  to  a  height  above  the 
second  story  windows.  The  roof,  with  its 
graceful  spires  and  turrets,  is  a  perfect  minia- 
ture, erected  only  a  few  feet  from  the  camera, 
while  the  chateau  is  perhaps  two  hundred  feet 
distant.  The  most  practiced  eye  will  scarcely 
be  able  to  detect  where  one  stops  and  the  other 
starts.  The  blending  is  perfect.  This  process 
is  not  to  the  discredit  of  "Scaramouche,"  a 
sumptuous  production  on  which  thousands  and 
thousands  of  dollars  have  been  spent  to  secure 
an  impressive  and  beautiful  atmospheric  back- 
ground. It  adds  to,  rather  than  detracts  from, 
the  excellence  of  the  production  and,  at  the 
same  time,  tends  to  produce  a  perfect  illusion. 

MINIATURES  were  used  in  similar  fashion 
in  "The  Hunchback  of  Notre  Dame," 
another  picture  of  lavish  and  unusually  costly 
settings.  The  sets  constructed  for  this  feature 
at  Universal  City  cover  acres  of  ground  and 
tower  high  into  the  air.  The  miniatures  in- 
crease an  already  gigantic  ensemble. 

For  exterior  work  these  miniatures  have  one 
distinct  advantage  over  paintings  on  glass: 
from  morning  to  night  the  shadows  correspond 
to  those  of  the  actual  sets.  The  light  and  shade 
is  always  the  same  on  both.  This  is  impossible 
of  attainment  on  glass,  and  the  variation  of 
shadows  is  in  danger  of  being  instantly  detected 
by  the  eagle-eyed  twelve-year-old  who  sits  in 
the  front  row  and  sees  all. 

Some  of  the  most  impressive  backgrounds  in 
"The  Girl  of  the  Golden  West"  are  painted  on 
glass,  particularly  those  showing  the  majestic, 
snow-capped  Sierra  peaks.  Much  of  this  pic- 
ture was  taken  in  the  same  location  as  "The 
Covered  Wagon."  The  producers  feared  that 
the  identity  of  the  locations  would  be  detected. 
,  Further,  the  famous  stage  play  called  for  moun- 
tains crowned  with  snow.  The  glass  painters 
moved  in  a  whole  range  of  mountains  in  a  few 
hours  of  rapid  brush  work. 

This  glass  and  miniature  business,  as  may 
be  imagined,  requires  a  high  degree  of  technical 
knowledge  and  skill.  It  is  extremely  difficult 
to  do  with  the  perfection  that  will  give  com- 
plete illusion.  It  is  worthless  unless  it  is  con- 
vincing, and  producers  are  quite  aware  of  the 
fact.  "  Fakey  "  touches  must  be  avoided.  It 
is  not  always  the  cheapest  or  easiest  method. 
Sometimes  it  requires  days  of  painstaking  and 
monotonous  labor,  and  often  it  must  be  done 
over  and  over  before  the  desired  results  are 
secured. 

ITS  chief  advantage  is  that  it  permits  the 
photographing  of  atmospheric  and  scenic 
effects  that  are  otherwise  impossible — snow- 
capped peaks  when  there  are  none,  massive  in- 
teriors that  would  cost  thousands  of  dollars  to 
complete,  architectural  mounds  that  would  re- 
quire months  to  construct,  and  ordinary  ceil- 
ings when  it  is  practically  impossible  to  utilize 
them  on  even  the  simplest  sets.  So  much  for 
glass.  Its  use  is  increasing  with  every  picture 
produced;  the  results  are  rapidly  approaching 
absolute  perfection.  Incidentally,  most  of  the 
glass  painting  is  done  in  black,  white  and  greys 
without  the  use  of  color. 

There  is  another  process  closely  akin  to 
photography  through  glass  which  produces 
practically  the  same  results:  the  double  ex- 
posure of  one  portion  of  a  scene  upon  another. 
In  the  example  of  the  ceiling,  the  upper  portion 
of  the  picture  or  the  exact  area  which  the  ceil- 
ing would  occupy  is  masked  from  the  film  by- 
placing  a  black  mat  of  correct  shape  over  that 
part  of  the  lens.  When  the  film  is  exposed,  the 
black  mask  prevents  the  light  from  reaching 
the  portion  which  is  to  be  occupied  by  the 
ceiling.    After  the  scene  is  photographed,  the 


7//s  latest 

and  'Best/ 


Ain't  you  wonderful!    Gee,  I  wisht  I  could  ride  a  horse  like  you  do!" 


WHOOPS,  my  dear,  the  circus  is  here !   Yes,  with  all  the 
elephants  and  tigers,  the  band,  the  clowns,  the  tumblers, 
the  freaks,  the  peanuts,  the  pink  lemonade  and  everythin'. 

And  with  it  comes  our  little  friend  Jackie  in  his  best  picture.  Who  doesn't 
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Sol  Lesser  presents 


Jackie  Coogan 

JCIRCUS  DAYS" 


\ 


Adapted 
from 

TOBY 
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J 


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Photoplay  Magazine — Advertising  Section 


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film  is  rewound,  a  mask  made  to  cover  the  area 
already  exposed  and  the  first  mask  removed. 
A  painting  or  photograph  is  then  placed  in 
correct  position  and  photographed  on  the  un- 
exposed portion  of  the  film.  The  result  is  two 
pictures  made  on  one  piece  of  film,  each  blend- 
ing perfectly  into  the  other. 

THIS  method  was  used  in  making  the  mag- 
nificent interior  cathedral  scenes,  supposed- 
ly replicas  of  Whitehall  Chapel,  London,  for 
"Lorna  Doone."  The  picture,  on  page  33, 
shows  the  set  as  it  was  constructed  on  the 
studio  stage  with  a  throne  platform,  rostrum 
and  gallery.  The  floor  space  and  gallery  were 
sufficiently  large  for  several  hundred  players  to 
perform.  A  background  effect  of  beautiful 
arched,  stained-glass  windows  was  double- 
exposed  on  the  film  above  that  portion  on 
which  the  action  had  been  recorded. 

Ferdinand  Pinney  Earle,  who  was  an  artist 
of  note  before  he  became  a  motion  picture 
director  and  producer,  employs  yet  another 
method.  He  paints  a  great  many  of  his  lavish 
sets  on  a  small  canvas,  photographs  them  and 
then  double-exposes  his  players  on  the  same 
film. 

William  P.  S.  Earle,  another  artist-pro- 
ducer, recently  completed  a  chronicle  of  King 
Tutankhamen  and  his  times.  The  scenery  and 
settings  are  unusually  impressive.  A  large  per- 
centage are  done  on  glass  and  with  paintings. 
If  you  might  have  seen  Mr.  Earle  and  his 
camera  atop  one  of  the  studio  stages,  shooting 
through  a  piece  of  glass  at  a  few  score  of 
scantily  clad  Egyptian  gentlemen,  driving 
chariots  back  and  forth  across  the  gravel  drive- 
way between  the  garage  and  the  office  build- 
ing, you  would  have  been  ready  to  submit  his 
name  for  membership  to  a  psychopathic  hos- 
pital. If  you  see  his  picture  and  the  results  of 
that  particular  day's  work  you  will  swear  Mr. 
Earle  slipped  back  fifty  centuries,  hopped  over 
to  Luxor  and  took  the  pictures  from  the  top 
row  of  the  Luxor  Stadium,  or  wherever  it  was 
that  Tut's  following  did  its  charioteering.  The 
illusion  should  serve  to  convince  any  audience. 

CHARLES  RAY,  who  has  resorted  to  a  trick 
or  two  in  his  latest  production,  "The  Court- 
ship of  Miles  Standish,"  puts  forth  a  very 
sound  argument  in  behalf  of  the  prevaricating 
camera. 

"We  have  learned  in  pictures  to  do  away 
with  realism  except  where  realism  is  absolutely 
necessary,"  he  says.  "We  have  found  that 
illusion  is  much  nearer  realism  when  done  in 
the  studios  where  we  can  control  lights,  cam- 
eras and  motion  better  than  elsewhere.  And, 
after  all,  what  we  want  is  the  most  perfect  illu- 
sion— for  illusion  is  the  basis  of  scenic  art." 

In  the  Miles  Standish  picture,  Ray  has  com- 
bined realism  and  illusion  to  bring  about  a  de- 
sired end.  The  "Mayflower"  was  constructed 
from  stem  to  stern,  a  truly  marvelous  bit  of 
craftsmanship  and  an  exact  replica.  Its  voy- 
age to  America  and  the  storms  encountered  at 
sea  are  startling  and  entirely  convincing  illu- 
sion. The  setting  of  the  Plymouth  colony, 
blanketed  with  snow,  is  another  combination 
of  realism  and  illusion,  for  somewhere  the 
actual  buildings  and  trees  stop  and  the  sweep- 
ing panoramic  background  of  the  New  England 
forests  begins — even  though  no  one  can  quite 
detect  the  dividing  line  in  the  completed  film. 

Ultra-speed  photography  is  another  method 
used  to  obtain  the  perfect  illusion.  There  are 
many  examples  of  its  use.  Thomas  H.  Ince's 
"Lying  Lips,"  a  success  of  two  years  past,  is 
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scenes  of  an  ocean  liner'  plowing  through  a 
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lict mine.  The  scenes  were  filmed  in  miniature. 
The  sea  was  the  studio  swimming  tank;  the 
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•"PHE  reason  for  using  the  ultra-speed  camera 
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fact  that  small  objects  do  not  move  with  I  he 
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Photoplay  Magazine — Advertising  Section 


117 


lapses,  it  takes  several  seconds  for  the  mass  to 
settle  to  the  ground.  If  a  four-story  miniature, 
perhaps  two  feet  high,  collapses,  it  is  on  the 
ground  in  an  instant.  The  speed  of  the  two 
actions  differs  so  greatly  that  the  illusion  is  lost. 
The  waves  of  the  ocean,  photographed  at 
normal  speed,  move  slowly  and  with  an  effect 
of  irresistible  power  and  weight.  If  the  water 
in  a  swimming  tank  is  agitated  and  photo- 
graphed at  normal  speed  the  resultant  effect  is 
one  of  dinky  splashing. 

The  "Lying  Lips"  ocean  was  agitated  by 
paddles  and  the  liner  towed  across  the  tank, 
by  underwater  wires,  at  lightning  speed.  To 
the  eye,  the  miniature  merely  bobbed  up  and 
down  in  a  ridiculous  dash  across  the  tank. 
And  so  it  would  have  looked  on  the  screen  had 
it  been  photographed  at  normal  speed.  The 
ultra-speed  camera,  however,  takes  five  pic- 
tures where  the  normal  speed  camera  takes  one. 

Consequently,  when  the  pictures  were  pro- 
jected on  a  theater  screen,  the  action  of  the 
ship  and  the  waves  was  only  one-fifth  as  fast 
as  when  it  occurred.  The  result:  the  waves, 
instead  of  splashing  jumpily,  undulate  slowly 
and  ponderously.  They  give  the  illusion  of 
hundreds  of  tons  of  water  rising  and  falling 
with  unending  monotony.  The  ship,  instead 
of  bobbing  up  and  down  like  a  cork  as  it  had 
actually  done,  appears  to  roll  and  pitch  after 
the  fashion  of  so  many  liners,  dropping  into 
the  trough  of  the  sea  and  lifting  heavily  to  the 
crest  of  the  following  swell.  Its  bows  cleave 
the  water,  throwing  it  up  and  astern  as  they 
would  not  have  done  had  the  miniature  been 
pulled  along  at  slow  speed,  and  a  white  wake 
stretches  out  behind,  another  result  of  the 
rapid  dash  across  the  tank.  The  illusion  in 
these  particular  scenes  was  perfect.  Photo- 
graphs of  a  real  ocean  greyhound  could  not 
have  been  more  convincing. 

A  LARGE  percentage  of  the  miniature 
scenes  made  at  present  are  photographed 
in  the  same  fashion.  The  ultra-speed  camera 
reduces  the  ultra-speed  action  of  the  light 
miniatures  to  normal  and  lends  them  a  re- 
markably realistic  touch. 

"Double  printing"  is  another  process  fre- 
quently used — more  often  to  secure  illusions  of 
action  than  scenic  background.  To  illustrate, 
suppose  that  a  picture  is  required  of  a  horse 
and  rider  leaping  across  a  perilously  wide 
chasm.  The  first  step  in  the  double  printing 
process  would  be  to  photograph  the  chasm,  if 
possible,  against  a  backing  of  clear  sky. 

The  second  step  would  be  to  photograph  the 
jumping  horse,  the  more  difficult  of  the  two. 
The  horse's  position  on  the  second  film  must 
correspond  to  that  which  it  would  have  occu- 
pied on  the  film  of  the  chasm,  had  it  actually 
made  the  jump  across.  The  ground  over 
which  the  horse  runs  is  masked  out  with  a 
white  mat.  The  background  is  open  sky.  The 
horse  runs  along  the  ground,  leaps  across  a 
tiny  ditch,  perhaps,  lands  and  continues  run- 
ning, never  having  been  more  than  two  or 
three  feet  off  the  ground  at  any  time. 

When  this  negative  is  developed  and  printed, 
however,  the  only  impression  on  the  film  is  that 
of  a  horse  running  on  nothing — galloping 
through  thin  air.  The  two  prints — the  picture 
of  the  chasm  and  the  picture  of  the  jumping 
horse— are  carefully  matched  until,  looking 
through  the  two  together,  the  effect  is  given  of 
the  horse  running  to  the  chasm,  leaping  over  it 
and  continuing  on  the  other  side. 

•"THE  matching  process  is  difficult  and  im- 
•*-  portant,  and  must  be  perfect  to  the  smallest 
fraction  of  an  inch.  If  the  two  scenes  do  not 
match,  the  horse  may  leap  from  one  side  of  the 
chasm,  land  in  the  air  in  the  middle  of  it  and 
continue  running  merrily  along  the  atmos- 
phere. In  order  that  the  two  films  may  coin- 
cide exactly,  it  is  often  necessary  to  take  a 
number  of  different  shots  of  the  leaping  horse 
in  order  to  get  a  single  one  that  can  be  utilized. 
When  the  two  positive  prints  of  the  action 
are  fitted  together  accurately,  a  double-print 
negative  is  made;  that  is  so  say,  they  are  both 
run  through  the  printing  machine  at  the  same 


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time  and  the  scenes  from  both  pictures  printed 
together  on  a  single  negative.  The  net  result, 
as  it  appears  on  the  theater  screen,  is  that  the 
horse  runs  along  the  ground  until  he  reaches 
the  chasm,  leaps  across  and  lands  on  the  oppo- 
site side. 

Dozens  of  other  tricks  are  being  used  and 
scores  of  new  ones  will  undoubtedly  be  in- 
vented in  the  future.  Many  of  the  processes 
are  impossible  to  explain  definitely  as  their 
originators  steadfastly  decline  to  disclose  how 
they  are  done.  Almost  every  cameraman  has 
his  own  bag  of  tricks,  while  three  or  four  are 
masters  of  deceptive  photography. 

One  of  the  best  of  these,  Fred  Jackman,  for 
several  years  spent  a  great  deal  of  his  time 
experimenting  with  his  camera — teaching  it 
new  lies  and  learning  how  it  could  convincingly 
prevaricate.  Some  of  his  cinematic  deceptions 
are  of  interest. 

IN  the  final  scenes  of  "  Molly  O,"  the  villain — 
or  perhaps  it  was  the  hero — hopped  into  his 
airplane  and  soared  away  in  pursuit  of  some- 
body's blimp.  With  both  flying  high  in  the 
air  the  villain — or  hero — dropped  from  the 
plane  to  the  blimp,  ran  along  the  top  of  the  gas 
bag  for  a  distance,  scrambled  down  the  rope 
netting  and  into  the  car,  where  he  started  a 
free-for-all  fight. 

Jackman  went  to  Florida  to  make  the  scenes. 
He  received  cooperation  from  the  naval  air 
station  at  Pensacola.  He  was  able  to  get 
everything  he  wanted  except  the  scenes  where 
the  villain — or  hero — changed  from  the  plane 
to  the  blimp.  He  was  stuck  on  that  one.  The 
planes  went  too  fast  and  the  blimp  too  slowly. 
With  a  two-thousand  foot  drop  into  the  Gulf  of 
Mexico  in  store  for  the  dropper,  if  he  should 
miss  his  footing,  the  stunt  was  entirely  too  dan- 
gerous to  attempt.  Jackman  returned  to  Cali- 
fornia without  it  and  then  went  out  in  the 
Edendale  hills  one  afternoon  and  made  one 
that  was  just  as  good — perhaps  better. 

He  found  a  convenient  hill  with  a  top  that 
corresponded  in  curve  to  that  of  the  top  of  a 
blimp.  He  set  his  camera  up  facing  the  top  of 
the  hill,  and  perhaps  a  hundred  yards  distant, 
with  nothing  but  sky  in  the  background.  Sev- 
eral feet  in  front  of  the  camera  he  hung  a 
miniature  blimp,  two  or  three  feet  in  length. 
From  the  viewpoint  of  the  camera  lens  the  top 
of  the  blimp  and  the  top  of  the  hill  were  per- 
fectly aligned.  Two  high  poles,  some  dis- 
tance apart,  stood  on  top  of  the  hill.  A  wire 
was  stretched  between  them  with  a  rope  ladder 
hanging  from  the  center  and  reaching  down 
almost  to  the  top  of  the  hill  beneath.  Jackman 
started  cranking  his  camera,  a  man  descended 
the  rope  ladder,  dropped  to  the  ground  and 
ran  along  the  top  of  the  hill  for  a  short  distance. 
The  trick  was  done. 

ON  the  screen  the  blimp  appeared  as  flying 
high  in  the  air.  The  man  descended  from 
above,  dropped  to  the  blimp  and  ran  along  the 
top.  No  hill  anywhere  to  be  seen — no  poles — 
no  wire  stretched  between.  Simplicity  itself. 
The  miniature  blimp  masked  everything  out 
except  the  man  descending.  When  the  man 
landed  on  the  hill  and  started  running,  it 
looked  as  if  he  were  running  along  the  top  of 
the  bag.  The  man  was  placed  on  the  distant 
hill  in  order  that  his  size  might  be  in  the  right 
proportion  to  that  of  the  balloon. 

This  same  Jackman  has  performed  other 
miracles  that  no  one  has  been  able  to  fathom. 
Cameramen  will  tell  you  that  he  once  produced 
the  illusion  of  a  horse  leaping  from  a  precipice 
into  a  river  several  hundred  feet  below  without 
the  aid  of  horse,  precipice  or  river. 

The  best  trick  photographers  appear  to  have 
a  sixth  sense  that  enables  them  to  produce 
some  of  their  startling  results.  Some  of  them 
will  patiently  explain  in  minute  detail  the 
mechanics  of  making  a  certain  trick  shot,  and 
yet  other  cameramen  are  unable  to  duplicate 
the  trick  successfully. 

A  FEW  paragraphs  in  defense  of  this  photo- 
■*»-graphic  deception  that  is  being  practiced 
with  increasing  frequency  may  not  be  amiss. 


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119 


Except  in  comedy  subjects,  producers  seldom 
exceed  the  bounds  of  plausibility  in  their  appli- 
cation of  trick  camerawork.  They  do  not  in- 
sult the  intelligence  of  audiences.  They  seldom 
attempt  anything  that  will  stretch  the  imagi- 
nation to  the  breakingpoint.  The  illusions  they 
create  with  glass  paintings,  double  exposures 
and  the  rest  could  be  done  in  actuality.  They 
are  entirely  possible. 

I  ■  Why,  then,  is  it  done?  The  reasons  are 
numerous  and,  for  the  most  part,  quite  legiti- 
mate. In  the  case  of  simple  ceilings  it  is  done 
because  a  ceDing  on  an  interior  studio  set  is 
highly  impractical  and  almost  impossible.  In 
the  case  of  extravagant  scenic  background, 
beauty  and  color  otherwise  unattainable  may 
be  achieved.  The  possibilities  here  are  un- 
limited— the  illusion  of  ancient  Rome,  Athens 
or  Constantinople  is  possible  without  the 
necessity  of  constructing  the  cities  in  their  en- 
tirety. 

When  action  is  dealt  with  by  trick  photog- 
raphy, it  becomes  possible  to  create  the  illusion 
of  danger  without  subjecting  players  to  unrea- 
sonable risk. 

The  leap  across  the  chasm  is  as  thrilling  and 
as  convincing  as  if  it  had  actually  been  ac- 
complished. 

Not  danger,  but  the  illusion  of  danger,  is 
wanted. 

It  must  appear  dangerous  to  the  audience, 
no  matter  what  it  looked  like  when  it  was 
being  made. 

DO  not  for  a  moment  conclude  that  because 
some  of  the  magnificent  structures  you  see 
on  the  screen  are  no  more  than  a  pint  of  paint 
on  a  piece  of  glass,  that  nothing  you  see  is  real. 
Most  of  it  is  real.  In  a  six  thousand  foot  pro- 
duction that  insiders  will  say  is  "full  of  glass," 
the  trick  photography  will  probably  not  appear 
on  more  than  two  or  three  hundred  feet.  In 
many  pictures  there  will  be  no  more  than  fif- 
teen or  twenty  feet  of  trick  film. 

By  far  the  most  important  element  of  any 
picture  is  the  action  of  the  players  and  the 
unfolding  of  the  story.  The  settings  serve  only 
to  create  an  atmospheric  impression.  What 
does  it  matter  if  the  feudal  castle  is  only  a 
painting  on  a  piece  of  glass?  As  you  see  it  on 
the  screen  it  is  but  a  picture — what  matter  if  it 
is  the  picture  of  a  picture  or  the  picture  of 
a  building,  so  long  as  the  perfect  illusion  is 
achieved? 

After  getting  a  smattering  idea  of  how  it  is 
done,  you  can  now  go  to  your  neighborhood 
theater  and  try  to  distinguish  the  settings  con- 
structed of  wood  and  stone  from  those  daubed 
on  glass.  You  will  decide  that  the  roof  of  the 
house  is  a  painting — until  someone  climbs  atop 
it  and  proves  you  were  wrong.  You  will  swear 
the  big  hotel  is  real  because  three  or  four  people 
crawl  out  of  one  window  and  shinny  along  the 
ledge  to  the  next  window — and  be  wrong  again 
for  probably  only,  the  window  ledge  and  the 
people  were  real. 

And  while  you  are  trying  to  figure  it  out,  the 
illusion,  which  is  often  more  effective  than 
realism,  will  continue  to  become  more  and  more 
perfect,  more  and  more  convincing,  and  the 
forthcoming  crop  of  cinema  productions  will 
become  steadily — perhaps — better  and  better. 


Hard  to  Dress  Butlers 

"D  ERT ISGRIGG,  who  costumes  the  men  who 
■'-'appear  in  pictures  at  the  Goldwyn  studio, 
says  that  the  motion  picture  butlers  are  the 
hardest  parts  to  dress  properly.  Butlers,  it 
seems,  wear  different  clothes  in  every  country 
— not  to  mention  different  households  in  the 
same  country! 

Some  of  them  wear  tuxedos,  some  livery, 
some  semi-military  uniforms.  Some — if  they 
happen  to  buttle  for  kings — wear  a  row  of 
medals. 

Some  of  them  are  as  tricky  dressers  as  the 
kings  themselves. 

Mr.  Isgrigg  says  that  the  easiest  pictures  to 
costume  are  bathing  pictures. 

When 


I 


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120 


Photoplay  Magazine — Advertising  Section 


A'ofe  the  remarkable  improvement 
in  the  same  eye*  below 


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Casts  of  Current  Photoplays 

Complete  for  every  picture  reviewed  in  this  issue 


"THE  DAYS  OF  DANIEL  BOONE"— 
Universal — Story  and  scenario  by  Jefferson 
Moffatt.  Director,  William  James  Craft. 
Photography  by  Howard  Oswald.  The  cast: 
Daniel  Boone,  Charles  Brinley;  Jach  Gordon, 
Jack  Mower;  Susan  Boone,  Eileen  Sedgwick; 
Claire  de  Voe,  Ruth  Royce;  General  Braddock, 
Hershall  Mayall;  George  Washington,  Duke  R. 
Lee;  Capt.  Charles  Redmond,  A.  J.  Smith; 
Simon  Girty,  Duke  R.  Lee;  Judge  Henderson, 
Frank  Farrington;  James  Monroe,  Jack  Lewis. 

"THE  SELF-MADE  WIFE"— Universal 

— Story  by  Elizabeth  Alexander.  Scenario  by 
Albert  Kenyon.  Director,  Jack  Dillon.  Photog- 
raphy by  William  Foldew.  The  cast:  Corrie 
Godwin,  Ethel  Grey  Terry;  Tim  Godwin, 
Craufurd  Kent;  Dodo  Sears,  Virginia  Ains- 
worth;  /.  D.  Sears,  Phillips  Smalley;  Elena 
Vincent,  Dorothy  Cummings;  Tim  Godwin,  Jr., 
Maurice  Murphy;  Jimmy  Godwin,  Turner 
Savage;  The  Baby,  Honora  Beatrice;  Hotchkiss, 
Tom  McGuire;  Mrs.  Salter,  Laura  LaVarnie; 
Bob,  Mathew  Betz;  Allerdyce,  Frank  R.  Butler. 

"SUCCESS';—  Metro—  Written  and 
adapted  by  Adeline  Leitzbach  and  Theodore  A. 
Liebler,  Jr.  Director,  Ralph  Ince.  The  cast: 
Barry  Carlcton,  Brandon  Tynan;  Jane  Ran- 
dolph, Naomi  Childers;  Rose  Randolph.  Mary 
Astor;  Sam  Lewis,  Dore  Davidson;  Willis  Pot- 
ter, Lionel  Adams;  Gilbert  Gordon,  Stanley 
Ridges;  Henry  Briggs,  Robert  Lee  Keiling; 
Nick  Walker,  Billy  Quirk;  Ruth,  Helen  Macks; 
Joe,  Gay  Pendleton;  Trcadwcll,  the  Peasant, 
John  Woodford. 

"McGUIRE  OF  THE  MOUNTED"  — 
Universal — Story  by  Raymond  L.  Schrock 
and  George  Hively.  Scenario  by  George 
Hively.  Director,  Richard  Stanton.  Photog- 
raphy by  Ben  F.  Kline.  The  cast:  Bob 
McGuire,  William  Desmond;  Julie  Montrcau, 
Louise  Lorraine;  Bill  Lusli,  Willard  Louis; 
Katie  Peck,  Vera  James;  Andre  Monlrcau,  P.  J. 


Lockney;  Major  Cord  well,  Wm.  A.  Lowery; 
Mrs.  Cordwcll,  Peggy  Browne;  Henri,  Frank 
Johnson;  Sergeant  Murphy,  Jack  Walters 

*\"  PETER  THE  GREAT  "—Paramount— 
Director,  Dimitri  Buchowetski.  Manuscript 
by  Sada  Cowan.  Edited  by  Julian  Johnson. 
The  cast:  Peter  I,  Tsar  of  Russia,  Emil  Jan- 
nings;  Eudoxie,  his  wife,  Cordy  Millowitsch; 
Tsarevitch  Alexei,  his  son,  Walter  Janssen; 
Mcnschikoff,  Prime  Minister,  Hernhard  Goet- 
ske;  Katharina,  a  canteen  girl,  Dagny  Servaes; 
A phrossinia,  Alexei' s  sweetheart,  Alexandria 
Sorina;  Nicodim,  Patriarch  of  Russia,  Fritz 
Kortner;  The  Jester,  Siegfried  Behrisch. 

"HUMAN    WRECKAGE"— F.    B.    0.— 

Story  by  C.  Gardner  Sullivan.  Director,  John 
Griffith  Wray.  The  cast:  Ethel  MacFarland, 
Mrs.  Wallace  Reid;  Alan  MacFarland,  James 
Kirkwood;  Mary  Finncgan,  Bessie  Love; 
Jimmy  Brown,  George  Hackathorne;  Mrs. 
Brown,  Claire  McDowell;  Dr.  II  ill  man,  Robert 
McKim;  Mrs.  Finncgan,  Victory  Bateman; 
Steve  Stone,  Harry  Northrup;  Dr.  Blake,  Eric 
Mayne;  Harris,  Otto  Hoffman;  Dunn,  Philip 
Sleeman;  The  Baby,  George  Clark;  Ginger 
Smith,  Lucille  Rickson;  and — A  City  Official, 
George  E.  Oyer  (Mayor  of  the  City  of  Los 
Angeles);  An  Educator,  Dr.  R.  B.  von  Klein- 
Smid  (President  of  the  University  of  Southern 
California);  A  Jurist,  Benjamin  Bledsoe 
(United  States  Judge,  12th  Federal  District), 
A  Police  Official,  Martha  Nelson  McCan  (Los 
Angeles  Park  Commissioner),  Mrs.  Chester 
Ashley  (Educator),  John  P.  Carter  (Former 
U.  S.  Internal  Revenue  Collector) ,  Mrs.  Chas. 
F.  Gray  (Parent  Teachers  Assn.);  A  Health 
Authority,  Dr.  L.  M.  Powers  (Health  Com- 
missioner, City  of  Los  Angeles) ;  Salvation 
Army  Worker,  Brigadier  C.  R.  Boyd. 

"SAWDUST"— Universal— Story  by 
Courtney  Riley  Cooper.  Scenario  by  Harvey 
Gates.    Director,  Jack  Conway.    Photography 


Sometimes  we  enjoy  the  film  folk.  As  f  instance,  when  they  hit  upon  a  location 
like  Hi  1  ,  '/ ;  did  Reginald  Barker's  company  of  "The  Master  of  Woman."  The 
scene  is  Big  Bear  Lake  and  the  players  in  the  background  are  Renee  Adoree  and 

Pat  O'Malley 


Every  advertisement  In  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


121 


by  Allen  Davey.  The  cast:  Nita  Moore, 
Gladys  Walton;  Phillip  Lessoway,  Nile- 
Welch;  Mrs.  Nancy  Wentworth,  Edith  Yorke; 
Ethelbert  Wentworth,  Herbert  Standing;  Runner 
Bayne,  Mathew  Betz;  "Pop"  Gilford,  Frank 
Brownlee;  "Speck"  Dawson,  William  Robert 
Daly;  Trcssie,  Mattie  Peters;  "Sawdust," 
Mike. 

"WANDERING  DAUGHTERS  "—First 
National — Adapted  from  the  story  by  Dana 
Burnet.  Director,  James  Young.  The  cast: 
Bessie  Bowden,  Marguerite  de  la  Motte;  Will 
Bowden,  her  father,  William  V.  Mong;  Annie 
Bowden,  her  mother,  Mabel  Van  Buren;  Gcral- 
dine  Norton,  Marjorie  Daw;  Charles  H  or  ton, 
her  father,  Noah  Beery;  John  liar graves,  Pat 
O'Malley;  Austin  Trull,  Alan  Forrest;  Servant 
in  the  Bowden  Home,  Alice  Howell. 

"WHERE  TS  MY  WANDERING  BOY 
THIS  EVENING?  "— Pathe— Presented  by 
Mack  Sennett.  Director,  C.  R.  Wallace.  The 
cast:  A  Village  Sheik,  Ben  Turpin;  A  girl  who 
loved  him,  Priscilla  Bonner;  .4  woman  who 
didn't,  Madeleine  Hurlock;  His  mother,  Dot 
Farley;  A  jealous  hired  man,  Jim  Finlayson. 

"SHOOTIN'  FOR  LOVE  "— Universal— 
Story  by  Raymond  L.  Schrock  and  Edward 
Sedgwick.  Scenario  by  Albert  G.  Kenyon  and 
Raymond  L.  Schrock.  Director,  Edward 
Sedgwick.  Photography  by  Virgil  E.  Miller. 
The  cast:  Duke  Travis,  Hoot  Gibson;  Mary 
Randolph,  Laura  La  Plante;  Jim  Travis,  Alfred 
Allen;  Bill  Randolph,  William  Welsh;  Dan 
Hobson,  William  Steele;  Sheriff  Bludsoc, 
Arthur  Mackley;  Sandy,  W.  T.  McCulley;  Tex 
Carson,  Kansas  Moehring. 

"THE  MYSTERIOUS  WITNESS"— F.  B. 
O. — Story  by  Eugene  Manlove  Rhodes.  Direc- 
tor, Seymour  Zeliff.  The  cast:  Johnny  Brant, 
Robert  Gordon;  Mrs.  John  Brant,  Nannie 
Wright;  Ed  Carney,  Jack  Connolly;  Ruth  Gar- 
land, Elinor  Fair;  Jim  Garland,  J.  Wharton 
James. 

"RUPERT  OF  HENTZAU"— Selznick 
Distributing  Corp. — From  the  novel  by  Sir 
Anthony  Hope.  Scenario  by  Edward  J. 
Montague.  Director,  Victor  Heerman.  Pho- 
tography by  James  MacWilliams.  The  cast: 
Queen  Flavia,  Elaine  Hammerstein;  Rodolph 
Rasscndyll,  King  Rodolph  of  Ruritania,  Bert 
Lytell;  Rupert  of  Hentzau,  Lew  Cody;  Helga 
von  Tarlenhcim,  Claire  Windsor;  Colonel  Sapt, 
Hobart  Bosworth;  Fritz  von  Tarlenhcim, 
Bryant  Washburn;  Rosa  Ilolf,  Marjorie  Daw; 
Bauer,  Mitchell  Lewis;  Count  Rischenheim, 
Adolphe  Menjou;  Simon  the  Woodsman,  Elmo 
Lincoln;  Lt.  von  Berncstein,  Irving  Cummings; 
Mother  Half,  Josephine  Crowell;  Herbert  the 
Huntsman,  Nigel  De  Brullier;  Paula,  Gertrude 
Astor. 

"THE  RAPIDS"— W.  W.  Hodkinson— 
Story  by  Alan  Sullivan.  Adapted  by  Faith 
Green.  Director,  David  M.  Hartford.  Photog- 
raphy by  Walter  L.  Griffin  and  Oliver  Sigard- 
son.  The  cast:  Robert  Fisher  Clarke,  Harry  T. 
Morey;  F.lsie  Worden,  Mary  Astor;  Jim  B el- 
ding, Walter  Miller;  John  Minion,  Harlan 
Knight;  Henry  Marsham,  Charles  Slattery; 
Horace  Wimperley,  Edwin  Frosberg;  Herbert 
Stoughton,  Jack  Newton;  Bishop  Sullivan, 
Charles  Wellesley;  Louis  Beaudctte,  John  W. 
Dillion;  Sue,  Peggy  Rice;  Mayor  Filmcr,  Frank 
Andrews. 

-/"DESERT  DRIVEN"— F.  B.  O— Story 
by  Wyndham  Martyn.  Adapted  by  Wynd- 
ham  Gittens.  Director,  Val  Paul.  Photo- 
graph}' by  William  Thornley.  The  cast:  Bob, 
Harry  Cany;  Mary,  Marguerite  Clayton; 
Craydon,  ( k-o.  J.  Waggner;  Leary,  Chas.  J. 
I.eMoyne;  Yorke,  Alfred  Allen;  Ge-Ge,  Camille 
Johnson;  Brown,  Dan  Crimmins;  Wife,  Cath- 
erine Kay;  Sheriff,  Tom  l.ingham;  Wan/ni, 
Jack  Carlyle;  Cook,  Jim  Wang;  Kendall, 
Ashley  Cooper. 


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Simply  get  an  ounce  of  Othine  from  any 
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It  is  seldom  that  more  than  an  ounce  is  needed  to 
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122 


Photoplay  Magazine — Advertising  Section 

"ITCHING   PALMS"— F.    B.    O.— Story 

and  adaptation  by  Wyndham  Gittens  and 
Helmer  Bergman.  Director,  James  W.  Home. 
Photography  by  William  Marshall.  The  cast: 
Jerry,  Tom  Gallery;  Jerrys  Father,  Hershal 
May  all;  Virgie,  Virginia  Fox;  Mac,  Tom  Wil- 
son; Obadiah  Simpkins,  Joseph  Harrington; 
The  Village  Dumbell,  Victor  Potel;  Grandma 
Gano,  Gertrude  Claire;  Doctor  Peak,  Robert 
Walker;  Judge  Barrett,  Tom  Lingham;  Con- 
stable Coman,  Richard  Cummings. 


44 


60  more 
a  month! 


99 


"Last  night  I  came  home  with  great  news — a 
$60  increase  in  salary  I  I  took  the  money  out  of 
my  pocket  and  asked  Mary  to  count  it.  You 
should  have  seen  her  face  light  up  when  she 
found  the  extra  $60.  I  think  she  was  even 
happier  than  I  was,  for  it  was  the  third  increase 
in  a  year. 

"To-day  I  am  manager  of  my  department — 
earning  more  money  than  I  ever  thought  it 
would  be  possible  for  me  to  make.  I  owe  it  all 
to  the  training  I  received  from  the  International 
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How  much  longer  are  you  going  to  wait  before 
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wait  for  years  and  then  realize  what  the  delay 
has  cost  you? 

One  hour  each  night  spent  with  the  I.  C.  S. 
in  your  own  home  will  prepare  you  for  the  posi- 
tion you  want  in  the  work  you  like  best. 

Don't  let  another  priceless  hour  go  to  waste! 
Without  cost  or  obligation,  let  us  prove  that  we 
can  help  you.    Mark  and  mail  this  coupon. 

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Without  cost  or  obligation  on  my  part,   please  tell  me 
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which  I  have  marked  an  X: 

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OBuslnesa  Management  D  Salesmanship 

D  Industrial  Management  □  Advertising 

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□  Business  Law  □  Stenography  and  Typing 

□  Hanking  and  Banking  Law  □  Business  English 
□AccountancydncludlngC.P.A.)  □Civil  Service 

□  Nicholson  Cost  Accounting  □  Railway  Mall  Clerk 

□  Bookkeeping  □  Common  School  Subjects 

□  Private  Secretary  □  High  School  Subjects 

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□  Electrical  Engineering  □Architect 

□  Electric  Lighting  □  Blue  Print  Beading 

□  Mechanical  Engineer  Q  Contractor  and  Builder 

□  Mechanical  Draftsman  □Architectural  Draftsman 

□  Machine  Shop  Practice  □Concrete  Builder 

Q  Railroad  Positions  □  Structural  Engineer 

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□  Civil  Engineer  □Automobile  Work 

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□  Metallurgy         □  Mining  QAgriculture  and  Poultry 
a  Steam  Engineering  □  Radio      □  Mathematics 


"CIRCUS  DAYS"  —  First  National— 
Adapted  from  "Toby  Tyler."  Director,  Eddie 
Cline.  The  cast:  Toby  Tyler,  Jackie  Coogan; 
Ann  Tyler,  his  Mother,  Barbara  Tennant; 
Bben  Holt,  Russell  Simpson;  His  wife,  Martha, 
Claire  McDowell;  Luigi,  the  Clown,  Cesare 
Gra villi;  Jeannctle,  his  Niece,  Peaches  Jackson; 
Mr.  Lord,  the  Lemonade  Man,  Sam  de  Grasse; 
Mr,  Daly,  the  Circus  Owner,  DeWitt  Jennings; 
World's  Fallcst  Woman,  Nellie  Lane;  World's 
.Skinniest  Man,  William  Barlow. 

"THREE  WISE  FOOLS"— Gold  wyn— 
Author,  Austin  Strong.  Adaptation,  King 
Vidor.  Director,  King  Vidor.  Photography 
by  Charles  Van  Enger.  The  cast:  Findley, 
Claude  Gillingwater;  Rcna  Fairchild,  Sydney 
Fairchild,  Eleanor  Boardman;  Hon.  James 
Trumbull,  Wm.  H.  Crane;  Dr.  Gaunt,  Alec 
Francis;  John  Crawshay,  John  Sainpolis;  Benny 
the  Duck,  Brinsley  Shaw;  Gray,  Fred  Esmelton; 
Gordon,  William  Haines;  Douglas,  Lucien 
Littlefield;  Mickey,  ZaSu  Pitts;  Saunders, 
Martha  Mattox;  Poole,  Fred  J.  Butler;  Clancy, 
Charles  Hickman;  Young  Findley,  Craig 
Biddle,  Jr.;  Young  Trumbull,  Creighton  Hale; 
Young  Gaunt,  Raymond  Hatton. 

"THE  LAW  OF  THE  LAWLESS  "—Para- 
mount— Story  by  Konrad  Bercovici.  Scenario 
by  E.  Lloyd  Sheldon  and  Edfrid  Bingham. 
Director,  Victor  Fleming.  Photography  by 
George  R.  Meyer.  The  cast:  Sahande,  a  spir- 
ited Tartar  maid,  Dorothy  Dalton;  Sender,  a 
faint  hearted  musician,  Theodore  Kosloff; 
Costa,  a  gypsy  chief,  Charles  de  Roche;  Ali 
Mechmet,  a  money  lender,  Tully  Marshall; 
Osman,  father  of  Sahande,  Fred  Huntley; 
Fanutza,  a  gypsy,  Margaret  Loomis. 


You  Are  Welcome  Everywhere 


Everyone  should  possess  the  ability  to  play  some 

musical  instrument.    It  will  greatly  increase  your 

popularity  and  personal  satisfaction.    You  are  wel- 

£^^%)       come  everywhere  with  a  sweet-toned 


Saxophone 

It  is  the  one  instrument  anyone  can  learn  to  play — 
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"THE  WOMAN  WITH  FOUR  FACES"— 
Paramount — Author,  Bayard  Veiller.  Sce- 
nario by  George  Hopkins.  Director,  Herbert 
Brenon.  Photography  by  Jimmie  Howe. 
The  cast:  Elizabeth  West,  a  crook,  Betty  Comp- 
son;  Richard  Templar,  district  attorney,  Richard 
Dix;  Judge  Westcott,  George  Fawcett;  Jim 
Hartigan,  a  convict,  Theodore  Von  Eltz;  Judson 
Osgood,  a  narcotic  peddler,  Joseph  Kilgour; 
Morton,  James  Farley;  Warden  Cassidy,  Guy 
Oliver;  Ralph  Dobson,  Charles  A.  Stevenson; 
The  Boy,  Gladden  James;  The  Mother,  Eulalie 
Jensen. 

"THE  FOG"— Metro— From  the  story  by 
William  Dudley  Pelley.  Adapted  by  H.  H. 
Van  Loan.  Scenario  by  Winifred  Dunn. 
Director,  Paul  Powell.  Photography  by  John 
R.  Arnold.  The  cast:  Madelaine  Theddon, 
Mildred  Harris;  Millie  Richards,  Louise  Fazen- 
da;  Mrs.  Theddon,  Louise  Dresser;  Edith  Forge, 
Marjorie  Prevost;  Carol  Gardner,  Ann  May; 
Mrs.  Forge,  Ethel  Wales;  Nathan  Forge,  Cullen 
Landis;  Jonathan  Forge,  Ralph  Lewis;  Si 
Plumb,  David  Butler;  Caleb  Gridley,  Frank 
Currier;  Gordon  Ruggles,  Edward  Phillips. 

"CHILDREN  OF  JAZZ"— Paramount— 
Story  by  Harold  Brighouse.  Scenario  by 
Beulah  Marie  Dix.  Director,  Jerome  Storm. 
Photography  by  Dev.  Jennings.  The  cast: 
Richard  Forestall,  an  adventurer,  Theodore 
Kosloff;  Ted  Carter,  an  army  visitor,  Ricardo 
Cortez;  Clyde  Dunbar,  a  society  man,  Robert 
Cain;  Babs  Weston,  a  jazz  girl,  Eileen  Percy; 
Lina  Dunbar,  Clyde's  wife,  Irene  Dalton;  John 
Weston,  Babs'  father,  Alec  B.  Francis;  Adam 
Forestall,  Richard's  father,  Frank  Currier; 
Blivens,  Snitz  Edwards;  Deborah,  Lillian  Drew. 

[  CONTINUED  ON  PAGE  1 24  ] 


Dull  Hair 


Noted  actresses  all  abhor  dull  hair 
— they  can't  afford  to  have  it.  They 
have  no  more  choice  in  the  color  of 
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Practically  every  woman  has  reason- 
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just  washing  cannot  sufficiently  im- 
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Photoplay  Magazine — Advertising  Section 

What  Do  They  Earn 
Today? 

[  CONTINUED  FROM  PAGE  44  ] 

Ingram  productions.  His  popularity  has  so 
increased  with  each  appearance  in  these  pic- 
tures that  he  now  has  to  spend  practically  a 
third  of  his  salary  on  his  fan  mail — for  postage 
and  photographs  requested. 

Malcolm  McGregor,  another  Ingram  "find," 
was  placed  under  contract  at  a  low  figure  fol- 
lowing his  first  screen  appearance,  which  was 
in  "The  Prisoner  of  Zenda."  He  has  been 
loaned  to  other  companies  to  play  leading 
roles  at  a  salary  ranging  from  $500  to  $750 
a  week.  When  this  is  done  the  company  pays 
hirn  his  regular  salary  and  fifty  per  cent  of  the 
amount  received  above  that. 

Although  Alice  Terry  has  been  offered  star 
contracts  with  salary  of  several  thousand  a 
week,  she  prefers  to  remain  in  the  all-star 
productions  made  by  her  husband,  Rex  In- 
gram, at  a  salary  less  than  a  thousand. 

Goldwyn  has  been  busily  signing  players  at 
fancy  figures.  Conrad  Nagel  is  down  on  the 
payroll  for  $1,500,  and  Lew  Cody  is  signed  up 
for  a  year  at  $1,000. 

Following  her  success  in  "The  Christian," 
Mae  Busch  was  placed  on  a  Goldwyn  contract 
at  a  salary  which  is  said  to  start  at  $650.  Only 
a  year  ago  Miss  Busch  faced  bankruptcy  after 
weeks  of  idleness. 

CO  great  is  production  activity  at  the  present 
^  time  in  Hollywood  that  the  players  of  note 
who  are  not  tied  by  contracts  can  virtually 
name  their  own  salaries. 

Among  the  free  lances  most  in  demand  sev- 
eral receive  higher  salaries  than  the  stars  they 
support. 

Conway  Tearle  is  probably  the  most  ex- 
pensive leading  man.  He  gently  requests 
$2,500  a  week — and  gets  it. 

James  Kirkwood  was  so  eager  to  prove  his 
ability  on  the  stage  last  year  that  he  threw 
up  $1,500  a  week  in  pictures  to  play  the  lead- 
ing role  in  Channing  Pollock's  play  "The 
Fool,"  on  Broadway,  at  $500.  Having  won 
his  laurels,  he  now  returns  to  pictures  at  $2,000 
per  seven  days. 

The  most  sought  after  players  in  Hollywood 
this  year  are  the  villainous  Beerys,  Noah  and 
Wallace,  who  receive  $1,500  a  week.  Wally 
recently  played  in  three  pictures  simultaneous- 
ly, thus  tripling  his  salary. 

The  highest  salaried  character  man  is  Lon 
Chaney,  who  is  getting  $2,200  a  week. 

There  are  a  number  of  men  in  the  $i,5oo-a- 
week  class  of  free  lances.  Notable  among 
them  are:  David  Powell,  Wyndham  Standing, 
Hobart  Bosworth,  Milton  Sills  and  Lewis 
Stone. 

H.  B.  Warner  has  been  tempted  back  to  the 
screen  at  $1,500  a  week  to  play  the  leading 
role  opposite  Gloria  Swanson  in  "Zaza." 

The  popular  Moore  brothers,  Matt,  Tom 
and  Owen,  will  each  do  a  neat  week's  work  for 
$1,000.     So,  too,  will  John  Bowers. 

Among  the  leading  men  whose  salaries  range 
from  $500  a  week  to  $1,000  are:  Kenneth 
Harlan,  Gaston  Glass,  Harrison  Ford,  Lloyd 
Hughes,  James  Rennie,  Monte  Blue,  Johnny 
Walker,  Frank  Mayo,  George  Walsh  and 
Cullen  Landis. 

Landis'  contract  with  Goldwyn  at  $350  ex- 
pired not  long  ago  and  the  lad  stepped  out 
immediately  to  the  tune  of  $600. 

Barbara  La  Marr  is  the  lady  champion  of 
free  lancers.  Only  a  couple  of  years  ago  Bar- 
bara found  it  difficult  to  make  fifty  a  week. 
Now  her  salary  quotation  is  $2,500,  forced  up 
by  sharp  bidding  among  producers  since  her 
appearance  in  "The  Prisoner  of  Zenda"  at  a 
few  hundred. 

Another  lady  who  can  scarcely  keep  her 
engagements  straight,  and  who  always  finds 
them  overlapping;  is  Anna  Q.  Nilsson.  It 
would  seem  that  no  all-star  production  is 
complete  without  her.  Producers  consider  it 
a  privilege  to  have  her  at  $i;5oo  a  week. 

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The  sophisticated  woman  shaves. 
In  hospitals  physicians  consider  shaving  the  harmless 
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FOIV  RULES  OF  CONTEST 
~  SEE  PAGE  59 


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Photoplay  Magazine — Advertising  Section 


Florence  Vidor  is  also  in  demand  at  $1,500. 

Marguerite  do  la  Motte's  salary  has  ad- 
vanced from  $750  to  $1,250  within  the  year. 

Only  a  lew  years  ago  Irene  Rich  worked  as  an 
extra  for  Mary  Pickford  at  ten  dollars  a  day. 
Now  Mary  is  paying  her  Si. 000  a  week  to  play 
the  queen  in  "The  Street  Singer." 

Colleen  Moore  has  been  an  exceedingly  ac- 
tive leading  lady  without  a  contract.  Now 
First  National  has  signed  her  to  star  at  a 
salary  which  starts  in  the  vicinity  of  $1,500. 

Six  months  ago  Patsy  Ruth  Miller  was  rc- 
ceiving  $200.  Her  latest  offer,  from  Universal, 
was  Si ,250. 

Many  a  player  of  great  popularity  is  chafing 
under  an  old  contract  which  provides  for  a 
relatively  small  salary.  Claire  Windsor,  for 
instance,  made  a  long-term  contract  with 
( loldwyn  when  the  industry  was  under  a  cloinl 
of  depression.  Thus  she  receives  hut  $350  a 
week.  Lois  Wilson,  Xita  Naldi,  Lila  Lee, 
Bebe  Daniels  and.  other  favorites  are  also  tied 
to  contracts  at  relatively  small  salaries. 

But  who  knows  how  long  the  sun  will  shine 
so  brilliantly? 

It's  a  good  time  right  now  for  a  player  to 
lay  in  a  contract  against  the  rainy  day. 

The  Girl  on  the  Cover 

[  CONTINUED  FROM  PAGE  37  ] 

star.  Just  as  you'd  train  a  promising  young 
man  to  be  a  civil  engineer. 

Mclntyre  went  to  New  York,  and  among  the 
thousands  of  young  women  he  interviewed  was 
Eleanor  Boardman.  She'd  never  been  before  a 
camera,  but  she'd  had  some  little  experience  on 
the  stage,  chiefly  in  the  chorus. 

Mclntyre  selected  her.  Because,  he  says, 
she  had  screen  personality,  plus  a  terrific  ambi- 
tion. And,  after  a  screen  test,  he  decided  she 
photographed  superbly.  So  he  brought  her  to 
Hollywood,  gave  her  a  contract  and  started  her 
out  as  an  extra. 

For  several  months  she  played  atmosphere, 
mob  scenes,  and  what  have  you. 

Rupert  Hughes  watched  her  and  finally  gave 
her  a  bit  in  "Gimme."  Her  first  real  screen 
part  was  with  Marshall  Neilan  in  "The 
Stranger's  Banquet."  Since,  she  has  scored  as 
the  heroine  of  "Souls  for  Sale,"  and  King 
Vidor's  "Three  Wise  Fools." 

So,  apparently  it  can  be  done — this  making 
motion  picture  stars — with  the  right  material. 

Casts  of  Current 
Photoplays 

f  CONTINUED  FROM  PAGE  122  ] 

"THE  BROKEN  WING"— Preferred 
Pictures — From  the  play  by  Paul  Dickey  and 
Charles  W.  Goddard.  Director,  Tom  Forman. 
The.  cast:  Philip  Marvin,  Kenneth  Harlan; 
Inez  Villcra,  Miriam  Cooper;  Capt.  Innocencio 
Dos  Scntos,  Walter  Long;  Celia,  Miss  du  Pont; 
Sylvester  Cross,  Richard  Tucker;  Bassilio, 
Edwin  J.  Brady;  Quichila,  Evelyn  Selbie; 
Villera,  Ferdinand  Munier. 

"MERRY-GO-ROUND"— Universal— 
Director,  Rupert  Julian.  Photography  by 
Charles  Kaufman  and  William  Daniels.  The 
cast:  Count  Franz  Maxmittian  von  Hohenegg, 
Norman  Kerry;  Agnes  Urban,  Mary  Philbin; 
Sylvester  Urban,  Cesare  Gravina;  Ursula 
Urban,  Edith  Yorke;  Bartholomew  Grubcr, 
George  Hackathorne;  Schaui  Ilubcr,  George 
Seigmann;  Marianka  Ilubcr,  Dale  Fuller;  Mrs. 
Aurora  Rossreilcr,  Lillian  Sylvester;  Komtcsse 
Gisella  von  Slcinbrucck,  Dorothy  Wallace; 
Minister  of  War  (Gisclla's  Father),  Spottis- 
woode  Aitken;  Emperor  Francis  Josef,  Anton 
Vaverka;  Gisclla's  Groom,  Sidney  Bracy; 
Count  Franz'  servant,  Ncpomuck,  Al  Edmund- 
son;  Kuili,  Capt.  Albert  Conti;  Nicki,  Charles 
L.  King;  Eilel,  Fenwick  Oliver;  Madame 
Alvira,  Maude  George;  Jane,  Helen  Broneau; 
Marie,  Jane  Sherman. 


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"DAUGHTERS  OF  THE  RICH"— Pre- 
ferred Pictures.  —  Directed  by  Louis 
Gasnier.  Story  by  Edgar  Saltus.  The  cast: 
Maud  Barhyte,  Miriam  Cooper;  Gerald  Welden, 
Gaston  Glass;  Mile.  Giselle,  Ethel  Shannon; 
Sally  Malakojf,  Ruth  Clifford;  Count  Malakoff, 
Stuart  Holmes;  Barhyte,  Maud's  father,  Josef 
Swickard;  Mrs.  Kaiidy,  Sally's  mother,  Truly 
Shattuck. 

"RED  RUSSIA  REVEALED"— Fox  — 

Not  a  drama;  hence,  no  cast. 

js    "THE  CUCKOO'S  SECRET"— Bray  — 
Bird  life. 

"YOUTHFUL  CHEATERS"—  Hodkin- 
son. — Edmund  MacDonald,  William  Calhoun; 
Ted  MacDonald,  Glenn  Hunter;  Lois  Brooke, 
Martha  Mansfield;  Mrs.  H.  Clifton  Brooke, 
Marie  Burke;  Marie  Choisuil,  Nona  Marden; 
Dexter  French,  Dwight  Wiman. 


"SHORT    SUBJECTS  "- 
One  and  two-reel  novelties. 


-Educational. — 


Questions  and  Answers 

[  CONTINUED  FROM  PAGE  IO3  ] 

Newlywed,  Park  Ridge,  N.  J. — Glad  to 
republish  the  cast  for  your  convenience.  "The 
Town  That  Forgot  God":  David,  Buddy 
Grauer;  Eben,  Warren  Krech;  Betty  Gibbs,  Jane 
Thomas;  Harry  Adams,  Harry  Benham;  The 
Squire,  Edward  Denison;  The  Squire's  Wife, 
Grace  Barton;  David  Adams,  Raymond 
Bloomer;  David  Adams'  Wife,  Nina  Cassavant. 
Released  by  Fox. 

H.  J.  H,  Chatham,  Ontario. — Agnes  Ayres 
is  twenty-six.  She  is  five  feet,  four  and  a  half 
inches  tall,  weighs  one  hundred  and  fifteen 
pounds  and  has  golden  brown  hair  and  blue 
eyes.  Her  most  recent  pictures  are  "Racing 
Hearts"  and  "The  Heart  Raiders."  Mahlon 
Hamilton  confesses,  unashamed  and  unafraid, 
to  thirty-eight  years.  He  is  six  feet  tall.  His 
hair  is  light  brown,  his  eyes  blue.  His  best 
known  plays  were  "Peg  o'  My  Heart"  and 
"The  Heart  Raiders." 

Dixie  of  Atlanta. — You  are  mistaken.  We 
have  not  issued  a  book  about  actors  and 
actresses  at  ten  cents  a  copy.  Richard  Dix  is 
not  married  and  he  has  confided  to  the  world 
no  engagement,  nor  intention  of  an  engage- 
ment, of  the  matrimonial  kind. 

D.  M.  G.,  Columbus,  Ohio. — Your  state  of 
mind  regarding  the  printed  comments  on  the 
unhappy  ending  of  "Where  the  Pavement 
Ends,"  since  you  saw  with  your  own  "perfectly 
good"  and,  may  I  add,  probably  beautiful, 
eyes,  Ramon  Novarro  and  Alice  Terry  sailing 
happily  away  from  the  islands  together,  is 
comprehensible.  The  discrepancy  is  not  with- 
out a  satisfactory  explanation.  The  play  was 
provided  with  two  conclusions.  The  different 
endings  were  used  at  the  discretion  of  the 
exhibitors. 

M.  T.,  Buffalo,  N.  Y. — Your  interest  in 
Pat  O'Malley  is  a  natural  one,  particularly 
when  I  note  your  name,  sir.  Mr.  O'Malley  was 
born  in  Dublin  in  1892.  He  married  Miss 
Lillian  Wilkes.  They  have  two  children.  He 
lacks  but  one  inch  of  being  as  tall  as  Thomas 
Meighan,  whose  height  is  six  feet.  He  weighs 
one  hundred  and  sixty-eight  pounds.  Hair 
brown.  Eyes  blue  with  a  gay  twinkle  in  them. 
He  had  a  stage  career  before  espousing  the 
pictures.  He  was  in  stock  companies  in  the 
British  Isles,  in  France  and  in  Germany.  For 
three  years  he  was  a  member  of  Chauncey 
Olcott's  company. 

R.  B.,  Chicago,  III. — The  engagement  of 
Marie  Prevost  to  Kenneth  Harlan  has  been 
rumored  and  denied.  Mr.  Harlan  is  playing 
"The  Broken  Wing."  Malcolm  McGregor's 
address  is  the  Metro  Studio,  Hollywood,  Calif. 


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126 


Photoplay  Magazine — Advertising  Section 


5 

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S.  I.,  Huntington,  W.  Va. — You  want  me 
to  be  the  Mercury  who  bears  your  wishes  of 
happiness  to  the  actress  of  your  exclusive  ad 
miration,  Ruth  Roland.  Delighted.  Why  mar 
i  perfect  picture  ol  devotion  1:\  asking  her  a .-.■.  * 
but  men  were  ever  thus,  it  is  their  second 
question  about  a  woman.  The  first  is,  "Is  she 
pretty?"'  Miss  Roland  has  reached  the  age 
which  elsewhere  I  have  boldly  asserted  i^  the 
most  interesting  one  of  woman.  Thirty.  Yes, 
she  has  been  married.  Photoplay  Magazine 
had  an  article  about  Miss  Roland  in  the 
August  number,  1922,  and  the  February  and 
May  numbers  of  this  year.  You  recommend  a 
beauty  contest  of  men  and  of  boys  over  sixteen? 
I  will  tell  the  editor  of  your  suggestion,  also 
your  frank  statement  that  you  "like  to  see  the 
pictures  of  men  because  they  are  so  good 
looking." 

Lonesome  Adein,  Memphis,  Tenn. — Why 
be  lonesome  in  so  good  a  motion  picture  town 
as  Memphis?  The  records  show  that  that  ad- 
mirable actor,  Lewis  Stone,  is  forty-four  years 
young.  Yes,  he  is  wedded  other  than  to  his 
ut  Barbara  La  Marr's  age,  Lonesome  Adein, 
is  twenty-six  years.  Departing  from  these 
intimate  personalities,  would  you  not  like  to 
know  what  pictures  are  claiming  their  atten- 
tion? Miss  La  Marr  has  gone  to  Rome  to  play 
in  "The  Eternal  City,"  and  Mr.  Stone  is  en- 
gaged on  "Scaramouche." 

Ione  of  Berwick,  Pa. — I  am  in  hearty 
accord  with  your  appreciation  of  Antonio 
Moreno  and  happy  to  give  you  the  information 
I  possess  concerning  him.  His  age  is  thirty- 
five.  He  married,  last  year,  Mrs.  Daisy 
Canfield  Danziger,  a  member  of  Los  Angeles 
society.  Mr.  Moreno's  name  is  no  misnomer. 
He  is  of  the  blood  of  the  gallant  men  of  Castile. 
His  personality  is  transmuted  into  motion 
pictures  by  the  Famous  Players-Lasky  Studios, 
1520  Vine  Street,  Hollywood. 

Peggy,  Henry,  III. — Glad  to  serve  as 
peacemaker  in  a  quarrel.  Although  I  have  a 
recollection  of  literally  striking  ingratitude  on 
such  occasions — never  mind.  Prevost  may  be 
pronounced  as  spelled,  long  e  and  long  o. 
Or  it  may  be  Gallicized  as  though  spelled 
"Prayvo."  Eugene  O'Brien's  permanent 
address  is  the  Players  Club,  New  York.  It  was 
founded  by  Edwin  Booth,  who  gave  the  hand- 
some four-story  edifice  that  houses  it  and  was 
his  home,  to  the  men  of  his  profession.  It  is  at 
16  Gramercy  Square,  directly  opposite  Gra- 
mercy  Park  and  facing  the  statue  of  the  dis- 
tinguished donor  as  Hamlet.  Jane  Novak  can 
be  communicated  with  through  the  R-C 
Pictures  Corporation,  Gower  and  Melrose 
Streets,  Hollywood,  Calif.  Shirley  Mason's 
address  is  care  Fox  Studio,  1401  Western 
Avenue,  Hollywood.  Hoot  Gibson  receives 
his  mail  at  the  Universal  Studio,  Universal 
City,  Calif. 

H.  R.,  Decatur,  III. — Richard  Dix  is  a 
distinguished  player  of  the  screen.  What?  No 
query  about  his  age?  Perhaps  you  have  read 
my  many  replies  to  the  same  question. 

"Alice  Forever,"  Cleveland,  Ohio.  — 
Alice  Calhoun  would  wish  me  to  give  the  in- 
formation desired  by  her  knight  on  whose 
banner  is  inscribed  "Alice  Forever."  And, 
considering  his  youth,  to  suppress  his  real 
name.  Her  birth  date  is  November  24,  1903. 
She  evinced  a  love  of  the  screen  when  she  was 
five  years  of  age  and  made  her  first  appearance 
at  sixteen.  She  is  a  great  grand-niece  of  the 
celebrated  Southern  statesman,  John  C. 
Calhoun.  By  the  way,  knowest  thou,  true 
knight,  that  she  was  born  in  the  city  of  your 
present  residence,  Cleveland?  Mary  Miles 
Minter  is  not  engaged  upon  a  picture  at  this 
time,  and  her  address  in  this  time  of  Summer 
flittings  is  not  known.  'Twill  be  different  in 
the  Autumn.  Autumn  time,  work  time.  Yes, 
there  are  two  fan  clubs.  They  are  called  the 
Ruth  Roland  and  the  Shirley  Mason. 


Studio  Directory 

For  the  convenience  of  our  readers 
who  may  desire  the  addresses  of  film 
companies  we  give  the  principal  active 
ones  below.  The  first  is  the  business 
office;    (s)   indicates  a  studio;   in   some 

cases  both  are  at  one  address. 
associated  first  national  pictures, 

(1  West  48th  Street,  New  York  City. 

Richard  Barthelmcss  Productions,  inspiration 
Pictures,    505    Fifth    Avenue,    New    York 
City. 
Edwin  Carewe  Productions.  Associated  First 
Nat'l  Pictures,  (it 9  Paciiic  Finance  Bldg. 
Los  Angeles,  Calif. 
Allen    Holubar    Productions.    Union    League 
Bldg.,  Third  and  Hill  Streets,  Los  Angeles, 
Calif. 
Thomas  H.  Ince  Productions,  Ince  Studios. 

Culver  City.  Calif. 
John   M.  Stall!  Productions.   Mayer  Studio, 

3800  Mission  Road,  Los  Angeles.  Calif. 
Norma  and  Constance  Talmadge  Productions 

United  Studios,  Hollywood.  Calif. 
Maurice  Tourneur  Productions,  United 

Studios.  Hollywood,  Calif. 
Laurence  Trimble-Jane  Murfln  Productions, 
Associated   First   Nat'l   Pictures,   6    West 
48th  Street,  New  York  City. 
Louis  Mayer  Productions,  3800  Mission  Road. 

Los  Angeles.  Calif. 
Richard   Walton   Tully   Productions,   United 
Studios,  Hollywood,  Calif. 
EDUCATIONAL    FILMS    CORPORATION,    370 
Seventh  Avenue.  New  York  City. 

Christie,  Comedies,   Christie  Film   Co.,   Inc., 
Sjniget  at  Gower  St.,   Los  Angeles,  Calif. 
IlamTTron  Comedies,   Lloyd  Hamilton  Corp., 
5341  Melrose  Avenue.  Hollywood,  Calif. 
Mermaid  Comedies.  Jack  White  Corp.,  5341 
Melrose  Avenue,  Hollywood,  Calif. 
FAMOUS     PLAYERS-LASKY     CORPORATION 
(PARAMOUNT),  485  Fifth  Avenue.  New  York 
City. 

(s)  Paramount.    Pierce   Ave.   and   Sixth   St., 

Long  Island  City,  N.  Y. 
(s)  Lasky,  Hollywood,  Calif. 
British  Paramount,  (s)   Poole  St.,   Islington, 

N.  London,  England. 
Wm.   S.   Hart   Productions,    (s)    1215   Bates 
Street,  Hollywood,  Calif. 
FOX  FILM  CORPORATION,   (s)   10th  Ave.  and 
55th  St..  New  York  City,    (s)     1401  N.  Western 
Ave.,  Los  Angeles.  Calif,    (s)   Rome.  Italy. 
GOLDWYN    PICTURES    CORPORATION,    469 
Fifth  Avenue.  New  Y'ork  City;  (s)  Culver  City, 
Calif.       Marshall     Neilan.   King  Vidor  Produc- 
tions and  Hugo  Ballin  Productions. 

International  Films,  Inc.  (Cosmopolitan  Pro- 
ductions), 729  Seventh  Avenue,  New  York 
City;   (s)   Second  Avenue  and  127th  St., 
New  York  City. 
W.  W.  HODKINSON  CORPORATION.  469  Fifth 
Avenue,  New  York  City. 

MASTODON  FILMS,  INC.,  C.  C.  Burr,  135  West 
44th  Street,  New  York  City;  (s)  Glendale,  Long 
Island. 
METRO  PICTURES  CORPORATION,  1540 
Broadway,  New  York  City;  (s)  Romaine  and 
Cahuenga  Avenue.  Hollywood,  Calif. 

Tiffany   Productions,    1540  Broadway,    New 

York  City. 
Buster  Keaton  Productions,  Keaton  Studio, 

1205  Lillian  Way,  Hollywood,  Calif. 
Jackie  Coogan,   United  Studios,  Hollywood, 
Calif. 
PALMER  PHOTOPLAY  CORPORATION,  Palmer 
Bldg..    Hollywood,    Calif.,    Producing   at  Thos. 
H.  Ince  Studios,  Culver  City,  Calif. 
PATHE  EXCHANGE.  Pathe  Bldg.,  35  West  45th 
Street,  New  York  City;  (Associated  Exhibitors). 
Charles    Ray    Productions,     1428    Fleming 

Street,  Los  Angeles,  Calif. 
Hal   E.   Roach   Studios,    Inc.,    Culver   City, 

Calif. 
Ruth  Roland  Serials,  United  Studio,  Holly- 
wood. Calif. 
PREFERRED  PICTURES,   1650  Broadway,  New 
York   City;    (s)    Mayer-Schulberg   Studio,    3800 
Mission  Road,  Los  Angeles,  Calif.    Tom  Forman, 
Victor  Schertzinger  and    Louis  J.   Gasnier  Pro- 
ductions. 
PRINCIPAL  PICTURES  CORPORATION,   1540 
Broadway.    New    York    City;    (s)    7200    Santa 
Monica  Blvd.,  Los  Angeles,  Calif. 
R-C   PICTURES   CORPORATION,    723   Seventh 
Avenue,  New  York  City;  (s)  Corner  Gower  and 
Melrose  Streets,  Hollywood,  Calif. 
ROTHACKER    FILM    MFG.    COMPANY,    1339 
Diverscy  Parkway,  Chicago,  Illinois;  Hothaeker- 
Aller  Laboratories,  Inc.,  Hollywood,  Calif. 
UNITED  ARTISTS  CORPORATION,  729  Seventh 
Avenue.  New  Y'ork  City. 

George  Arliss  Productions,  Distinctive  Prod., 

366  Madison  Avenue.  New  York  City. 
Rex  Beach  Productions,  United  Artists  Corp., 

729  Seventh  Avenue,  New  York  City. 
Charlie  Chaplin  Studios,   1410  LaBrea  Ave., 

Hollywood.  Calif. 
D.     W.     Griffith     Studios,     Orienta     Point, 

Mamaroneck.  N.  Y. 
Jack  Pickford,  Mary  Pickford  Studio,  Holly- 
wood. Calif. 
Mary     Pickford     and     Douglas     Fairbanks 

Studio,  Hollywood,  Calif. 
Mack     Sennctt   Comedy     Productions,     Los 
Angeles,  Calif. 
UNIVERSAL     FILM     MFG.     COMPANY.     1600 
Broadway,  New  York  City;  (s)  Universal  City, 
Calif. 

Century  Comedies,  Circle  Blvd.,  Hollywood, 

Calif. 

VITAGRAPH    COMPANY    OF    AMERICA,     (s) 

East  15th  Street  and  Locust  Avenue,  Brooklyn, 

New  York;  (s)  1708  Talmadge  Street,  Hollywood, 

Calif. 

Whitman    Bennett   Productions,  637   River- 
dale  Ave.,  Yonkers.  New  York. 
WARNER  BHOTHERS,  1600  Broadway,  New  Y'ork 
City;  (s)  Sunset  Blvd.  at  Bronson,  Los  Angeles, 
Calif. 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


127 


Friendly  Advice 

[  CONTINUED  FROM  PAGE  16  ] 

H.  K.,  Fremont,  Neb. 

You  are  small  and  slim,  with  curly  brown 
hair  and  a  not  very  clear  complexion.  And 
you  want  to  know  what  sort  of  frocks  you 
should  wear  and  what  colors?  Well,  I  will 
answer  te  the  best  of  my  ability,  although  I 
cannot  advise  very  definitely  in  regard  to 
colors  as  you  have  neglected  to  state  the  shade 
of  your  eyes.  I  can  only  tell  you  that,  because 
your  complexion  is  muddy,  you  should  not 
wear  trying,  hard  shades  of  blue  or  green,  and 
that  you  should  avoid  such  "off  colors"  as 
cerise,  sulphur,  olive  or  taupe.  You  will  be 
safe,  I  should  say,  in  wearing  dark  brown  and 
blue,  French  blue,  rose,  violet  and  white — no 
matter  what  color  your  eyes  may  be.  Your 
dresses  should  be  made  fairly  long,  but  you  can 
wear  them  frilly,  if  you  want  to,  for  you  are 
slender.  Unless  you  want  to  seem  more  tall, 
in  which  case  you  should  follow  the  straight 
silhouette. 

E.  J.  K.,  Buffalo,  N.  Y. 

Yes,  I  realize  that  you  are  not  a  child — that 
at  twenty-five  the  average  young  woman  fully 
knows  her  own  mind.  That  makes  it  harder  for 
me  to  understand  why  you  ask  me  to  tell  you 
which  of  your  two  suitors  you  should  marry. 
After  all,  I  am  a  stranger — I  do  not  know 
either  of  the  young  men,  except  as  you  have 
introduced  them  to  me.  Either  sounds 
eligible;  they  both  seem  to  be  of_  good  char- 
acter, and  they  both  hold  good  positions  in  the 
business.  But,  my  dear,  the  thing  that  counts 
most  of  all,  in  marriage,  is  love.  You  yourself 
must  decide  which  of  these  men  you  really  care 
for — if  your  heart  cannot  give  you  a  definite 
answer  you  should  marry  neither  of  them! 
When  it  is  possible  for  you  to  hesitate,  to 
choose,  it  is  also  possible  that  you  do  not  love 
either  of  them  very  deeply.  A  marriage  based 
upon  love  is  a  wonderful  thing — but  a  mar- 
riage without  love  may  be  a  frightful  experi- 
ence. Any  woman  should— if  she  is  being  fair 
to  herself — consider  this  matter  carefully. 

"High  Bridge,"  New  York  City. 

I  am  afraid  that  I  must  disappoint  you  by 
siding  with  your  mother.  She  is  right  in  the 
matter  of  choosing  your  clothes — her  judg- 
ment, it  seems  to  me,  is  very  good.  Even 
though  your  work  consists  of  playing  the  piano 
in  the  sheet  music  department  of  a  store,  you 
should  dress  as  simply  as  any  of  the  girls  who 
work  behind  the  counter.  Especially  should 
you  dress  that  way  because  you  are  stout. 
Any  stout  woman  looks  better  in  dark  clothes 
that  follow  simple  lines  than  she  does  in 
ruffles  and  gay  colors!  Your  mother  is  not  old 
fashioned.  Just  because  the  other  girls  appear 
in  "classy"  clothes — and,  often  I  fear,  in  bad 
taste — is  no  reason  why  you  should.  Your 
mother  is  sensible,  and  you — to  be  sensible — 
should  rely  upon  her  sound  ideas. 

Bobby,  Ohio. 

As  you  are  the  postmistress  of  a  small  town 
I  should  suggest  that  you  dress  very  simply 
during  working  hours.  You  may  wear  pretty 
summer  frocks  of  linen,  gingham  or  cotton 
voile  on  warm  days.  On  cooler  days,  straight, 
one-piece  dresses  (you  should  wear  slim, 
straight  line  clothes  for  you  are  a  trifle — about 
eight  pounds — overweight)  of  jersey.  With 
dark  brown  hair  and  a  fair  complexion  you  can 
wear  all  blues,  browns  and  greens,  black,  rose, 
lacquer,  yellow  and  orchid.  The  darker  colors 
will  make  you  seem  more  slender,  so  will 
striped  effects. 

Chiffon  gowns,  made  over  silver  slips,  will  be 
more  suitable  for  evening  than  for  afternoon — 
unless  the  afternoon  affair,  at  which  such  a 
frock  is  to  be  worn,  is  a  very  formal  one.  And 
about  your  hair — certainly  you  must  wash  it, 
whenever  it  needs  washing.  About  once  every 
ten  days  or  two  weeks.  A  tonic  for  oily  hair 
will  promote  the  growth  of  it. 


flhts 'Jgyely  Slender 
Igure  /xlDURS 

This  Beautiful  Woman  icYOU 

It  is  natural  to  be  beautiful.    Every  woman  is  fry 

nature  beautiful.  Only  when  artificial  influencesinterfere 

does  the  human  body,  Nature's  most  beautiful  product, 

lose  its  grace,  slenderness,  or  symmetry.  The  delicious 

foods  of  our  modern  civilization  are  so  tempting  that 

one  eats  too  much.    Machinery  does  so  much  of  our 

work  that  we  exercise  too  little.    The  result  of  this  of 

course,  is  disfiguring  fat— yet  underneath  every  stout 

or  fleshy  figure  lies  the  lovely  slender  figure  that  is 

yours — the  beautiful  woman  that  is  you. 

LET  THIS  FAMOUS  SPEC- 
IALIST'S PRESCRIPTION  REDUCE, 
YOU    IN    THIS   EASY    NATURAL  WAY/ 


Dr.  R.  Lincoln  Graham,  famous  stomach! 
specialist  of  New  York, after  a  lifetimeof  re- 
search at  home  and  abroad  has  solved  the 
problem  of  counter-acting  the  fattening 
effect  of  modern  methods  of  living.  After 
countless  experiments  he  finally  has  per- 
fected his  prescription  known  as  Neut- 
roids, which  neutralizes  sugars  and  star- 
ches taken  into  the  stomach  and  prevents 
them  from  forming  into  fat.  His  marvelous 
prescription,  Neutroids,  has  been  pre 
scribed  for  more  than  two  years  to  the 
thousands  of  stout  women  who  have  called 
athissanitariumforobesity-treatmentwith 
complete  success.  Most  important  of  all, 
there  is  not  the  slightest  element  of  danger 
in  taking  Neutroids  treatment  for  super- 
fluous flesh.  Neutroids  contain  no  thyroid 
extract  or  other  dangerousorhabit  form- 
ingdrugs— yet  they  are  guaranteed  by  Dr. 
Graham  to  effect  satisfactory  reduction. 


NO  CHARGE  for 

Professional  Con- 
sulting Service 

Any  patient  who  is  tak- 
ing the  Neutroids  treat- 
ment may  feel  free  to 
call  at  the  Sanitarium, 
123E.89th  St.,NewYork. 
for  special  advice,  or  you 
may  feel  free  #  to  writ© 
fully  concerning  your 
case.  Dr.  Graham  or  a 
staff  physician  will  give 
you  professional  advice 
without  charge. 


SEND  NO  MONEY— SATISFACTION  GUARANTEED 

No  bother  to  make  out  a  check  or  little  packet  of  Neutroids  arrives,  de- 
money  order;  merely  fill  in  [and  send  posit  purchase  price  with  postman. 
this  convenient  coupon  now.  If  you  This  money  will  be  immediately  re— 
haven't  your  pencil  handy  tear  out  the  funded  if  you  write  us  that  you  are 
coupon  and  send  it  later.    When  the    not  entirely  satisfied  with  results. 

Dr.  R.  Lincoln  Graham,  care  of  The  Graham  Sanitarium,  Inc.,  123  East  89th  Street.  Dept.  409 
New  York  City:— Send  me  2  weeks'  treatment  of  Neutroids  which  entitles  me  to  free  professional 
mail  consulting  service  and  free  booklet  on  Obesity.  I  will  pay  postman  $2  (plus  15c  postage)  on 
arrival  of  the  Neutroids  in  plain  package.  I  understand  my  money  will  be  refunded  if  I  do  not 
get  a  satisfactory  reduction  from  this  2  weeks'  treatment. 

Name = Age .Sex 

Address Weight _ 


Play  I>IANO  By  Ear 


No  matter  how  little  you  know  about 
music,  if  you  can  just  remember  a 
tune,  I  teach  you  to  play  Jazz,  Rag- 
time and  Popular  Songs  BY  EAR  — 
easily  and  quickly.  Why  spend  years 
studying  tiresome  scales  and  finger 
exercises  when  you  can 

Learn  At  Home  in  90  Days 

and  play  any  tune  you  can  remember,  by 
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have  ever  taken  piano  lessons;  if  so,  how 
many?    Write  today.      Address 


RONALD  G.  WRIGHT,  Director, 

NIAGARA  SCHOOL  OF  MUSIC. 
Dept.  574  Niagara  Falls.  N.  Y. 


Send  for  this  Free  Book 


A  RAILWAY 

RAFFIG  INSPECTOR 


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TRAINING  INST. 

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|   City •^•••"■' '—  —  —  -J 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINK. 


1 


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His  new  personal  parfum  paquets — Varieties  of  his  Djer-Kiss 


FRENCH  in  their  charming 
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fancy  of  Madame  and  Made- 
moiselle. Exquisite  little  crystal 
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She  will  remember,  also, 
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"On  ne  melange  jamais  les  par- 
fums."  (One  should  never 
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So  will  her  Face  Powders, 
her  Rouges,  her  Creams  bear 
the  subtle  French  fragrance  of 
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be  fragrant  of  Djer-Kiss,  each 
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Parisien.  Together  they  will 
bring  to  the  toilette  a  har- 
mony indeed  French 
and  indeed  fashionable. 

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do  not  delay  in  realizing  the 
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art  of  Monsieur  Kerkoff.  Pur- 
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Kiss  specialites. 


The  oval-shaped  Vanette 
of  Djer-Kiss,  the  only 
purse-size  package  guar- 
anteed to  contain  gen- 
uine Parfum  Djer-Kiss 
—  created  by  Monsieur 
Kerkoff.  As  agift,  as  a  din- 
ner favor,  as  a  bridge 
prize,  so  charming. 


ijMer- 

Cx    ZMidc  inSmruz. 
KERKOFF,  PARIS 


O    1923    AH  SCo. 


N  0  C  VyV  ^  Photoplay  Magazine — Advertising  Section 


A  chance  meeting  on  the  street,  an  unex 
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overturned,  an  introduction  to  some  person 
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Photoplay  Magazine — Advertising  Section 


THE  MAGIC  NAME  IN  ENTERTAINMENT 

THE  WORLD  OVER 


YOU  whose  lives  are  spent  in  one 
locality  may  have  a  dim  idea  of 
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"to-night's  the 
night  for  a  great 
show!" 


{paramount S^ictures 

If   it's   a    Paramount    Picture   it's   the    best  show   in    town  ! 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


The  World's  Leading  Motion  Picture  Publication 


PHOTOPLAY  MAGAZINE 


KKANK  T.  POPE 

MANAGING    ROITOR 


JAMES  R.  QUIRK,  Editor 


AUKLA  ROGERS  ST.  JOHNS 

WESTERN   F.niTOIC 


Vol.  XXIV 


No.  5 


Contents 

October,  1923 


Alia  Nazimova 
8 


Cover  Design 

From  a  Pastel  Portrait  by  Rolf  Armstrong 

Brief  Reviews  of  Current  Pictures 
In  Tabloid  Form  for  Ready  Reference 

Brickbats  and  Bouquets 
Letters  from  Readers 

Friendly  Advice  Carolyn    Van    Wyck 

The  Department  of  Personal  Service 

Rotogravure: 

New  Pictures:  Claire  Windsor,  Mary  Astor,  Theda 
Bara,  Gloria  Swanson,  Irene  Rich,  Jackie  Saunders, 
Jack  Holt,  Frank  Mayo,  Eddie  Phillips,  Edmund  Lowe 


Speaking  of  Pictures  (Editorials) 


James  R.  Quirk 


14 
20 
27 

35 
36 

38 

41 

42 


The  Most  Engaged  Girl  in  the  World    Constance  Talmadge 
An  Expert's  Valuable  Pointers  on  Love  and  Marriage 

How  They  Do  Grow  Up!  Adela  Rogers  St.  Johns 

Favorite  Stars  Whose  Acting  Is  Changing  with  the  Years 

Mr.  Gallagher  and  Mr.  Shean 

The  Celebrated  Comedians  Do  a  "Turn"  for  the  Special  Benefit 
of  Readers  of  Photoplay 

The  Tragic  Romance  of  Luigi  Montegna       Herbert  Howe 

An  Aching  Heart  Beats  in  Bull's  Manly  Breast 

(Contents  continued  on  next  page) 


Published  monthly  by  the  Photoplay  Publishing  Co. 

Publishing  Office,  750  N.  Michigan  Ave.,  Chicago,  111. 
Editorial  Offices,  221  W.  57th  St.,  New  York  City 

The  International  News  Company,  Ltd.,  Distributing  Agents,  S  Bream's  Building,  London,  England 

Edwin  M.  Colvin,  Pres.  James  R.  Quirk,  Vice-Pres.  R.  M.  Eastman,  Sec.-Treas. 

Kathryn  Dougherty,  Business  Mgr. 

Yearly  Subscription:  $2.50  in  the  United  States,  its  dependencies,  Mexico  and  Cuba: 

$3.00  Canada;  $3.50  to  foreign  countries.  Remittances  should  be  made  by  check,  or  postal 

or  express  money  order.    Caution — Do  not  subscribe  through  persons  unknown  to  you. 

Entered  as  second-class  matter  April  24,  1912,  at  the  Postoffice  at  Chicago.  III.,  under  the  Act  of  March  3,  1879. 


Photoplays  Reviewed 

in  the  Shadow  Stage 

This  Issue 

Save  this  magazine  —  refer  to 
the  criticisms  before  you  pick  out 
your  evening's  entertainment. 
Make  this  your  reference  list. 


Page  72 

The  Green  Goddess . . 

Hollywood 

Little  Old  New  York . 
Page  73 

Ashes  of  Vengeance 

Bluebeard's  Eighth  Wife 

Trilby 

Page  74 

Lawful  Larceny 

The  Brass  Bottle 

A  Gentleman  of  Leisure. 

Homeward  Bound 

Soft  Boiled 

Black  Shadows 


.    .  Distinctive 

Paramount 

.Cosmopolitan 

First  National 
.  .  Paramount 
First  National 

.  .  Paramount 
First  National 
.  .  Paramount 
.  .  .  Paramount 

Fox 

Pathe 


Page  76 

St.  Elmo Fox 

The  Flying  Dutchman F.  B.  O. 

Out  of  Luck Universal 

The  Victor Universal 

The  Love  Brand Universal 

Broadway  Gold Truart  Film  Corp. 

Page  105 

Skid  Proof Fox 

Don't  Marry  for  Money \pollo 

Hell's  Hole... Fox 

Page  106 

The  Steel  Trail Universal 

Radio  Mania Hodkinson 

Shadows  of  the  North Universal 

Mothers-in-Law Preferred 

Legally  Dead Universal 

The  Miracle  Baby F.  B.  O. 

The  Purple  Highway Paramount 

Little  Johnny  Jones..  Warner  Brothers 

Page  107 

Alias  the  Night  Wind Fox 

Fighting  Blood  (Second  Series). F.  B.O. 

The  Eleventh  Hour Fox 

Loyal  Lives Vitagraph 

Lost  in  a  Big  City Arrow 


Copyright,  1931,  by  the  PHOTOPLAY  PUBLISHING  Company,  Chicago. 


Contents  —  Continued 


The  Stuffed  Shirt  (Fiction)  Frank  R.  Adams    44 

Courage — What  Is  It?    The  "He-man"  in  This  Story  Gives  an 
Unusual  Answer  to  This  Question 

Illustrated  by  R.  Van  Buren 

They  Won't  Marry  Millions  (Photographs)  49 

Mary  Louise  Hartje  and  Derelys  Perdue  Are  Certainly  Hard  to 
Please 


Cecil  and  Bill 


Adela  Rogers  St.  Johns    50 


The  Enigma  of  the  De  Mille  Brothers 

How  the  Picture  Is  Made  (Photographs)  52 

A  Glimpse  of  the  Many  Steps  from  Scenario  to  Screen 

Just  a  House  to  Live  In  (Photographs)  54 

Mr.  and  Mrs.  Fred  Niblo  at  Home 

Alice-Sit-By-the-Fire  Ada  Patterson    56 

What  Has  Become  of  Miss  Brady's  Irresistible  Smile? 


Close-Ups  and  Long  Shots 


Herbert  Howe    57 


Comment  on  the  Activities  of  Screen  Personalities 

The  Romantic  History  of  the  Motion  Picture 

Terry  Ramsaye    58 

Chapter  XIX  Carries  Us  Back  to  the  Beginnings  of  Some  of  the 
Great 

Introducing  Mr.  and  Mrs.  James  Kirkwood  (Photograph)     62 

The  ' '  Million  Dollar  Girl ' '  63 

June  Mathis'  Rise  to  Fame  and  Fortune  Through  Her  Story- 
Telling  Gift 

Around  the  World  in  Eighty  Minutes  (Photographs)  64 

Scenes  That  Would  Deceive  the  Eye  of  a  Globe  Trotter 

"Among  Those  Present"  66 

A  List  of  Celebrities  Who  Honored  the  First  Showing  of  "Little 
Old  New  York" 

Drawings  by  Ralph  Barton 

Rotogravure :  67 

Billie  Dove ;  Estelle  Taylor,  James  Neill  and  Theodore  Roberts  in 
"The  Ten  Commandments;"  Reginald  Denny 

Mary's  New  Role  (Photographs)  71 

Miss  Pickford  Dons  Maturity  to  Play  "Rosita" 

The  Shadow  Stage  72 

The  Department  of  Practical  Screen  Criticism 


Gossip — East  and  West 

Intimate  Glimpses  of  the  Film  Folk 


Cal  York    78 


What  Won't  They  Do  for  Pictures?  (Photographs) 
Ethel  Shannon  and  Anna  Nilsson  Make  Heroic  Sacrifices 


Questions  and  Answers 


Casts  of  Current  Photoplays 

Complete  for  Every  Picture  Reviewed  in  This  Issue 

Why  Do  They  Do  It? 

Screen  "Breaks"  Caught  by  Readers  of  Photoplay 

Addresses  of  the  leading  motion  picture  studios 
will  be  found  on  page  12 


89 


The  Answer  Man    91 
116 


118 


-R^)M 


Pol 


a 


Negri's 

Greatest 

Love 


Did  she  love  Charlie 
Chaplin  to  whom  she  was 
reported  engaged  but 
whom,  she  has  recently 
announced,  she  could 
never  marry? 

Did  she  love  Count 
Dombski,  her  former  hus- 
band? 

Does  she  love  any  of 
the  men  with  whom  her 
name  has  been  coupled 
during  her  career  in  this 
country? 

What  is  the  greatest 
love  of  this  beautiful,  tal- 
ented Polish  star? 

What  type  of  man  at- 
tracts her? 

What  things  in  life  in- 
terest her  most? 

What  is  her  real  atti- 
tude towards  life? 

Her  own  replies  to  all 
these  questions  and  to 
many  others  will  be  told 
in  the  November  number 
of  Photoplay.  Here  will 
be  a  revelation  of  the  real 
Pola — the  woman  as  well 
as  the  actress.  She  speaks 
with  the  utmost  frankness, 
and  her  words  carry  the 
unmistakable  impress  of 
truth. 

Be  sure  to  read  what 
she  says  in  the 

November 

Photoplay 


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Brief  Reviews  of  Current  Pictures 


ABYSMAL  BRUTE,  THE  —  Universal.  —  A 
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and  a  come-hither  in  his  eye.  played  by  Reginald 
Denny  in  a  way  both  manly  and  appealing.  Jack 
London  characters  faithfully  reproduced.  This  is  a 
picture  for  everybody.     (.July.) 

AFFAIRS  OF  LADY  HAMILTON,  THE— Hod- 
kinson. — Lady  Hamilton  comes  to  a  bad  finish,  but 
her  road  of  life  is  not  tedious  by  any  means.  Rather 
heavy  German  production.     Not  for  children.  (July.) 

BAVU — Universal. — A  gory  tale  of  Bolshevic 
Russia,  decidedly  artificial.  This  doesn't  apply  to 
Wallace  Beery,  however,  the  double-dyed  villain. 
Flappers  mav  like  the  ultra-heroic  Forrest  Stanley. 
(July.) 

BELLA  DONNA— Paramount.— Pola  Negri's  first 
American-made  picture  does  not  fit  her  as  well  as 
those  tailored  in  Berlin.  Pola  is  more  beautiful  but 
less  moving:  a  passion  flower  fashioned  into  a  poin- 
settia.     The  picture  is  thoroughly  artificial.     (June.) 

BOSTON  BLACKIE— Fox.— The  inside  of  the 
world's  most  disagreeable  prison,  with  a  happy  end- 
ing that  arrives  just  in  time.     (August.) 

BRASS — Warner  Brothers. — Not  for  those  who 
read  the  novel  by  Norris.  A  story  which  doesn't 
dare  anything.  Harry  Myers  excellent  in  small  role, 
t/wne.) 

BRIGHT  SHAWL,  THE— First  National.— A 
pretty  play  of  distinct  atmospheric  charm,  a  tale  of 
Havana  intrigue  with  Cuban  strugglers  for  liberty  on 
one  side  and  soldiers  of  Spanish  oppression  on  the 
other.  Well  acted  bv  Richard  Barthelmess,  Dorothy 
Gish,  Jetta  Goudal  and  William  Powell.     (July.) 

BROKEN  WING,  THE— Preferred.— A  story  of 
Mexico  and  an  American  aviator  who  crashes  through 
a  roof  into  the  arms  of  a  pretty  girl.  Moves  rapidly 
and  is  interesting  throughout.     (September.) 

BUCKING  THE  BARRIER— Fox— Dustin  Far- 
num  beating  up  thugs  who  wouidst  thwart  him  from 
claiming  his  rightful  estates.     (June.) 

BURNING  WORDS— Universal.— The  Canadian 
Mounted,  and  a  trooper  who  gets  his  man.  This  time 
the  man  is  a  brother.     (August.) 

CHILDREN  OF  DUST— First  National.— A 
pleasant  little  story  of  old  Gramercy  Square,  but 
with  too  much  childish  love-making.  And  then,  at 
the  end,  the  war  is  dragged  in.     (August.) 

CHILDREN  OF  JAZZ  —  Paramount.  —  A  fast 
story,  unique  plot,  quaint  costumes  and  delightful 
photography.  Altogether,  good  entertainment. 
(September.) 

CIRCUS  DAYS— First  National.— Jackie  Coo- 
gan's  new  one.  This  shows  the  lovable  boy  star  at  his 
best  and  funniest.  It  is  all  Jackie,  of  course,  but  none 
the  worse  for  that.     (September.) 

CORDELIA  THE  MAGNIFICENT— Metro- 
High  societv  with  everybody  blackmailing  everybody, 
even  the  heroine,  who  does  it  unconsciously,  of 
course.     Badly  adapted  story.     (July.) 

CRASHING    THROUGH—  F.    B.    O—  Not    so 

bad — not  so  good.  A  Harry  Carey  jumble  of  heroics. 
(June.) 

CRITICAL  AGE,  THE— Hodkinson.—  Another 
Ralph  Connor  Glengarry  story,  well  told.  Lacking 
in  the  original  force  and  spiritual  element.   (July.) 

CROSSED  WIRES— Universal. — And  yet  another 
little  Cinderella.  She  prefers  sassity  to  the  switch- 
board, and  she  achieves  her  heart's  desire,  not  with- 
out some  heart-throbs  and  much  laughter.     (July.) 

CUCKOO'S  SECRET,  THE— Bray.— They  say  it 
took  ten  years  to  get  this  picture  of  the  world's  laziest 
bird.  It  is  remarkably  interesting  and  instructive. 
(September.) 

DAUGHTERS  OF  THE  RICH  —  Preferred.  — 
High  society,  American  heiress,  decadent  Russian 
duke  and  so  on.  Some  novelty,  but  not  much  punch. 
Some  of  the  settings  are  beautiful.     (September.) 

8 


DAYS  OF  DANIEL  BOONE,  THE— Universal  — 
A  serial  with  much  interesting  and  historical  value. 
Plenty  of  adventure  and  with  many  surprisingly  real 
characters.      (September.) 

DESERT  DRIVEN— F.  B.  O.— The  best  picture 
Harry  Carey  has  made  for  a  long  time.  It  starts  in 
prison  and  ends  in  the  desert  after  many  adventures 
and  a  good  love  story.     (September.) 

DEAD  GAME— Universal.— Hoot  Gibson  does 
some  hard  riding  and  fast  thinking.    (July.) 

DIVORCE— F.  B.  O.— Jane  Novak  is  so  beautiful, 
in  this,  that  nothing  else  matters.  Not  even  the  plot. 
(August.) 

DON  QUICKSHOT  OF  THE  RIO  GRANDE— 

Universal. — A  western  that  should  have  been  a  com- 
edy.    The  small  boy's  delight.     (August.) 


AS  a  special  service  to  its  readers, 
Photoplay  Magazine  inaug- 
urated this  department  of  tab- 
loid reviews,  presenting  in  brief  form 
critical  comments  upon  all  photoplays 
of  the  preceding  four  months. 

Photoplay  readers  find  this  depart- 
ment of  tremendous  help — for  it  is  an 
authoritative  and  accurate  summary, 
told  in  a  few  words,  of  all  current  film 
dramas. 

Photoplay  has  always  been  first 
and  foremost  in  its  film  reviews. 
However,  the  fact  that  most  photo- 
plays do  not  reach  the  great  majority 
of  the  country's  screen  theaters  until 
months  later,  has  been  a  manifest 
drawback.  This  department  over- 
comes this — and  shows  you  accurately 
and  concisely  how  to  save  your  mo- 
tion picture  time  and  money. 

You  can  determine  at  a  glance 
whether  or  not  your  promised  eve- 
ning's entertainment  is  worth  while. 
The  month  at  the  end  of  each  tabloid 
indicates  the  is^ue  of  Photoplay  in 
which  the  original  review  appeared. 


DOUBLE  -  DEALING  —  Universal.  —  A  stupid 
young  man  buys  property  of  a  confidence  man,  and 
of  course  the  property  assumes  a  great  value.  Other- 
wise how  could  it  all  end  so  happily?     (July.) 

ENEMIES  OF  WOMEN— Paramount-Cosmo- 
politan.— An  Ibanez  romance  filmed  in  Paris  and 
Monte  Carlo,  decorated  by  Urban,  dressed  by  Poiret 
and  girled  by  Ziegfeld.  A  million  dollars' worth  of 
beauty,  including  Alma  Rubens,  and  superb  acting 
by  Lionel  Barrymore.      (June.) 

EXCITERS,  THE— Paramount.— A  jazzy  little 
comedy-melodrama  with  plenty  of  action  and  speed. 
Tony  Moreno  and  Bebe  Daniels  at  their  best.  Good 
entertainment.      (August.) 

FOG,  THE — Metro. — A  story  of  small-town  ethics 
with  the  "how  his  soul  was  saved"  angle  played  up. 
The  cast  is  good,  but  the  direction  poor.    (September.) 

FOG  BOUND — Paramount. — One  of  the  formulas. 
Innocent  man  accused — lovely  lady  saves  him.  Good 
cast,  fine  photography.  Palm  Beach  settings,  and 
conventional  ending.      (August.) 

FOOLS  AND  RICHES— Universal.— The  hand- 
some hero  and  his  money  are  soon  parted,  but  being 
a  hero  he  wins  another  fortune,  and  being  handsome 
wins  the  girl.     (July.) 


FOURTH    MUSKETEER,    THE— F.    B.    O.— 

Johnnie  Walker  at  his  best  as  a  young  prize-fighter 
who  gives  up  certain  championship  for  the  little  wife. 
(June.) 

GARRISON'S  FINISH— United  Artists.— The 
old,  hackneyed  race  track  story,  with  the  Southern 
colonel,  the  doped  horse  'n'  everything.  Jack  Pick- 
ford  has  the  lead.     Race  scenes  the  best.     (August.) 

GIRL  I  LOVED,  THE— United  Artists.— We 
recommend  this  without  a  single  qualification  to  the 
entire  family.  It  deserves  your  attention.  A 
fragile  wistful  little  lyric  inspired  by  J.  Whitcomb 
Riley's  poem  of  a  country  boy  who  loves  his  foster 
sister.  Ray  gives  one  of  the  best  performances  of 
the  screen  year,  superb  in  its  humanness  and  tender- 
ness.    We  cannot  recommend  it  too  highly.      (.July.) 

GIRL  OF  THE  GOLDEN  WEST,  THE— First 

National. — Another  return  engagement,  but  the  fine 
old  story  marred  by  difficulties  of  casting.  Warren 
Kerrigan  and  Sylvia  Breamer  the  leads.     (August.) 

rGIRL  WHO  CAME  BACK,  THE— Preferred  — 

The  dear  girl  doesn't  come  back,  really,  but  she  does 
get  diamonds  and  two  husbands.  So  everybody's 
happy,  unless  possibly  the  audience.     (July.) 

GLIMPSES  OF  THE  MOON,  THE— Paramount. 
— Beautiful  sets,  beautiful  gowns  and  oh,  such 
beautiful  ladies!  In  a  word,  an  eyeful.  But  nothing 
much  for  the  heart.     (June.) 

GO-GETTER,  THE— Paramount-Cosmopolitan. 
— The  Go-Getter  has  lost  much  of  his  pep  passing 
from  magazine  to  screen,  but  it  is  a  pleasant,  well- 
round  narrative  for  a'  that.     (July.) 

GRUB  STAKE,  THE— American  Releasing  Cor- 
poration.— Fifty-seven  varieties  of  woodland  crea- 
tures, ranging  in  styles  from  bears  to  porcupines. 
Also  Nell  Shipman.    A  unique  forest  picture.   (June.) 

GRUMPY — Paramount. — A  superb  character- 
ization by  Theodore  Roberts,     (/une.) 

HEART  RAIDER.  THE— Paramount.— Jazzy 
and  often  amusing,  with  Agnes  Ayres  setting  the 
pace.  An  unbelievable  story,  but  set  in  beautiful 
surroundings.     (August.) 

HER  FATAL  MILLIONS— Metro.— A  swiftly 
rnjoving  comedy  of  a  girl's  fibs — Viola  Dana's — to  a 
suitor  whom  she  believes    faithless.      (July.) 

HUMAN  WRECKAGE— F.  B.  O.— Mrs.  Wallace 
Reid's  film  protest  against  the  drug  evil.  Not  a 
cheery  story,  but  one  that  will  touch  the  heart  and 
may  do  an  immense  amount  of  good.      (September.) 

ISLE  OF  LOST  SHIPS,  THE— First  National.— 
A  fantastic  romance  of  derelicts  in  the  Sargasso  Sea, 
screened  with  imagination  by  Tourneur.     (June.) 

ITCHING  PALMS— F.  B.  O.- 

and  badly  told.     (September.) 

LAW  OF  THE  LAWLESS,  THE— Paramount  — 

A  colorful  drama  of  the  gypsy  borderland  between 
Asia  and  Europe,  with  Dorothy  Dalton  and  Charles 
De  Roche  in  suitable  roles.     (September.) 

LEOPARDESS,  THE— Paramount.— Montague 
Love  tries  taming  Alice  Brady,  a  wild  gal  of  the  South 
Seas.  He  also  tries  to  tame  a  leopardess — and  gets 
tamed  most  effectively.  The  leopardess  should  have 
ended  matters  in  the  first  reel.      (June.) 

LION'S  MOUSE,  THE— Hodkinson.— Blackmail, 
robbery,  hairbreadth  escapes,  the  papers  and  the 
poils!     But  entertaining  for  a'  that.      (June.) 

LITTLE  CHURCH  AROUND  THE  CORNER, 

THE — Warner  Brothers. — A  situation  after  the 
manner  of  "The  Miracle  Man,"  with  a  wealthy  mine 
owner,  a  mine  disaster  and  a  minister.     (June.) 

LOST  AND  FOUND  —  Goldwyn.  —  Hollywood 
hokum  dropped  in  the  South  Seas.  A  beautiful  back- 
ground and  good  players  wasted.     (June.) 

LOVEBOUND— Fox.— A  well-knit,  consistent 
story,  with  strong  climaxes,  of  a  district  attorney  who 
falls  in  love  with  his  secretary.  The  girl's  father  is  a 
jewel  thief,  and  the  conflict  between  her  loyalty  to 
father  and  love  for  prosecutor  is  well-developed, 
Shirley  Mason  draws  sympathy.      (July.) 


-Melodrama,  stupid 


Photoplay  Magazine — Advertising  Section 


This  Book  is  Never  Sold 


Lloyd  Hughes,  Lucille  Ricksen,  Claire  McDowell  and  George  Hackathorn 
in  a  tense  scene  from  the  Palmer/>lay 

"Judgment  of  the  Storm" 

Screenplay  written  by  Mrs.  Middleton,  Pittsburgh  housewife,  whose  creative 

talent  was  discovered  by  the  Palmer  Creative  Test,  and  who  was  trained  in 

the  technique  of  the  photoplay  by  the  Palmer  Photoplay  Corporation. 

Directed  by  Del  Andrews 

Ask  your  theatre  when  this  picture  will  be  shown 


Is  This  Book  Meant  For  You? 


This  32-page  book  may  prove  useful 
to  you.    Or  it  may  not. 

That  is  for  you  to  decide  after  read- 
ing this  announcement. 

The  book  is  free  to  anyone  who  will 
clip  the  coupon  below.  But  it  is  not  in- 
tended for  mere  curiosity  seekers,  nor 
for  children. 

A  Glimpse  Into  Pictureland 

It  will  bring  you  a  glimpse  beyond 
the  gates  which  separate  the  realm  of 
motion  pictures  from  the  rest  of  the 
world.  Through  it  you  may  look  around 
and  decide  whether  you  wish  to  become 
a  part  of  this  fascinating  life. 

And  through  a  remarkable  test  which 
we  shall  gladly  and  freely  send  you  with 
the  book,  you  may  determine  whether  or 
not  you  ought  to  try.  This  test  was  the 
starting  point  for  many  men  and  women 
who  are  now  successful  photoplaywrights, 
directors  and  studio  executives. 

Motion  picture  producers  are  suffering 
acutely  from  the  need  of  new  dramatic 
material  They  ask,  not  for  a  celebrated 
name,  not  for  literary  skill,  but  for  fresh 
ideas  of  plot  construction  simply  prepared 
for  visual  expression. 

If  you  do  not  feel  the  urge  to  help  re- 
lieve, at  large  profit  to  yourself,  the  de- 
mand of  the  motion  picture  industry  for 
new    imagination,   for  original    and   vital 


human  drama,  then  turn  this  page.  For 
this  book  could  not  have  been  meant  for 
you. 

But  if  you  are  earnest;  if  a  demand  far 
exceeding  supply  with  rewards  accord- 
ingly higher  (a  fundamental  economic  sit- 
uation) stirs  ambition  within  you,  clip 
the  coupon  on  this  page  and  send  it  on  its 
way  right  now. 

This  book,  then,  is  meant  for  you. 
Not  as  a  Magic  Carpet  of  Bagdad,  upon 
which  you  may  wish  yourself  carried  to 
success,  but  a  friendly  guide  which 
shows  you  how  and  where  to  start. 

$1,000  and  Royalties  to  a  House- 
wife and  a  Country  Doctor 

The  free  book  illustrated  above  was 
issued  by  the  producers  of  the  Palmer/>lay 
"Judgment  of  the  Storm."  The  author 
of  this  screenplay  is  a  Pittsburgh  house- 
wife, who  received  $1,000  advance  roy- 
alties before  the  picture  had  begun  to 
earn  its  way,  and  who  will  receive  royal- 
ties for  the  next  five  years — sharing  the 
producers'  profits.  A  New  York  State 
country  doctor's  screenplay  will  be  the 
next  picture  to  appear  under  the  Palmer 
banner. 

The  Palmer  Photoplay  Corporation 
produces  pictures,  discovers  and  trains 
new  talent,  and  maintains  the  largest 
screenplay   clearing   house   in   the    world, 

Copyright  1923 — Palmer  Photoplay  Corporation 
n  you  write  to  advertisers  iilease  mention  PHOTOPLAY  MAGAZI 


serving  as  a  fully  accredited  connecting 
link  between  writer  and  producer.  On 
the  corporation's  Advisory  Council,  aid- 
ing in  this  work,  are  such  prominent 
figures  as  Thos.  H.  Ince,  Rex  Ingram, 
Allen  Holubar,  Frederick  Palmer,  James 
R.  Quirk,  Rob  Wagner  and  C.  Gardner 
Sullivan. 

Just  Clip  the  Coupon 

Feel  free  to  ask  for  this  book,  using 
the  coupon  below,  if  you  have  ever  felt 
the  urge  of  self-expression  and  wish  to 
determine  whether  or  not  the  screen  is 
the  right  medium  for  you.  The  book 
and  the  Creative  Test  which  will  be 
mailed  with  it  will  answer  questions 
which  may  have  puzzled  you  for  years. 
It  is  too  important  for  guess-work.  No 
cost  nor  obligation,  of  course. 


Palmer  Photoplay  Corporation         Save  time  by 
Productions  Division,  Sec.  1210  addressing 

Palmer  Bldg.,  Hollywood,  Cal.  nearest  office 

527  Fifth  Ave.,  New  York 
332  S.  Michigan  Ave.,  Chicago 

Send  me  the  free  book,  "Finding  Your  Place 
in  Pictures."     Also  the  Palmer  Creative  Test. 


Name    

Street — 

City State 

All  correspondence  strictly  confidential. 


Photoplay  Magazine — Advertising  Section 


EARLE  E.  LIEDERMAN 
as  he  Is  today 

Pills  Never  Made 
Muscles 

Wishing  Never  Brought 
Strength 

>yO  one  can  paste  muscles  onto  your  arms  and 
J.  1  shoulders.  If  you  wish  a  strong,  healthy  body, 
you  must  work  for  it.  And  if  you  don't  have  one,  you 
are  doomed  to  a  life  of  misery. 

Modern  science  has  taught  us  that  we  must  keep 
our  bodies  physically  nt  or  our  mental  powers  will 
soon  exhaust  themselves.  That  is  why  the  successful 
business  man  resorts  to  golf  and  other  active 
pastimes. 

Examine  Yourself 

L>o  you  have  the  strong,  robust  body  which  keeps 
you  fit  at  all  times  to  tackle  the  daily  tasks  con- 
fronting you — always  looking  for  bigger  things  to  do? 
Do  you  jump  out  of  bed  in  the  morning  full  of  pep; 
with  a  keen  appetite  and  a  longing  to  enter  the  day's 
activities?  Do  you  finish  your  daily  tasks  still  thrill- 
ing with  pep  and  vitality?  Or  do  you  arise  only  half 
awake  and  go  through  a  languid  day? 


PEP  UP! 


Don't  let  it  get  you,  fellows!  Come  on  out  of  that 
shell  and  make  a  real  he  man  of  yourself.  Build  out 
those  skinny  arms  and  that  flat  chest.  Let  me  put 
some  real  pep  in  your  old  backbone  and  put  an  armor 
plate  of  muscle  on  you  that  will  make  you  actually 
thrill  with  ambition.  I  can  do  It.  I  guarantee  to  do 
it.  I  will  put  one  full  inch  on  your  arm  in  just  30 
(lays  and  from  then  on,  just  watch  'em  grow.  This  is 
no  idle  boast.  It's  the  real  works.  A  genuine  guar- 
antee. Come  on  now.  Get  on  the  job  and  make  me 
prove  It. 

Send  for  My  New  Book 

"MUSCULAR  DEVELOPMENT" 

It  Is  Free 

This  will  show  you  some  of  my  remarkable  achieve- 
ments. Sixty-four  pages  with  dozens  and  dozens  of 
full  page  photographs  of  myself  and  a  number  of  my 
pupils.  Read  what  they  say  about  my  system. 
Don't  take  my  word  for  It.  This  book  will  be  an 
impetus,  an  Inspiration  to  every  red-blooded  man. 
All  I  ask  is  the  price  of  wrapping  and  postage — 10 
cents.  Remember  this  does  not  obligate  you  In  any 
way.  so  don't  delay  one  minute.  This  may  be  the 
turning  point  in  your  life.  Tear  off  the  coupon  and 
mall  at  once — now,  while  it  is  on  your  mind. 

EARLE  E.  LIEDERMAN 

Dept.   110,    305  Broadway,    New  York   City 


EARLE  E.   LIEDERMAN 

Dept.  110,  30S  Broadway,  New  York  City 

Dear  Sir:— I  enclose  herewith  10  cents,  for  which 
you  are  to  send  me,  without  any  obligation  on  my 
part  whatever,  a  copy  of  your  latest  book,  "Mus- 
cular Development."     (Please  write  or  print  plainly.) 

Xame 

.Street 

City State 


LOVE  PIKER,  THE— Cosmopolitan-Goldwyn.— 
Anita  Stewart  in  the  old  tale  of  the  girl  who  loves  her 
father's  employee.  A  good  story,  with  Miss  Stewart 
doing  some  fine  acting.     (September.) 

MADNESS  OF  YOUTH— Fox.— An  engaging 
crook  enters  a  home  to  rob  a  safe,  meets  the  daughter 
of  his  victim,  etc.  Marriage  and  honor  in  the  end. 
John  Gilbert  is  sincere  and  with  Billie  Dove  makes 
the  affair  almost  plausible.      (July.) 

MAIN  STREET— Warner  Brothers.— A  difficult 
story  to  screen  and,  therefore,  not  an  entirely  satis- 
factory picture.  Starts  off  well,  but  slumps  at  the 
end.  Florence  Vidor  the  great  redeeming  feature. 
(.4  ugusi.) 

MAN  FROM  GLENGARRY,  THE— Hodkinson. 
— Ralph  Connor's  erstwhile  best-seller  has  suffered 
in  the  screening,  but  the  logging  scenes  are  fine  and 
the  Canadian  landscapes  impressive.     (June.) 

MAN  NEXT  DOOR,  THE— Vitagraph  —  Not 
good.  Story  is  illogical,  and  acting  and  direction  both 
below  standard.     A  dog  wins  the  honors.     (August.) 

MAN  OF  ACTION,  A— First  National.— Likable 
Douglas  MacLean  as.  a  society  man  playing  a  crook. 
Interesting,  but  incongruous.  Perhaps,  some  day, 
MacLean  will  get  a  real  story.  Then,  look  out. 
(August.) 

MARK     OF     THE     BEAST,    THE— Dixon  — 

Thomas  Dixon  wrote,  cast  and  directed  this  as  a 
challenge  to  "machine-made  pictures."  The  ma- 
chine wins.      (August.) 

MARY  OF  THE  MOVIES— F.  B.  O.— Again  the 
Hollywood  stars  trailing  by  in  a  story  of  a  screen- 
struck  girl.  That  is  the  only  interest.  The  story  is 
weak.      (August.) 

MASTERS  OF  MEN— Vitagraph—  Well-done 
story  of  the  Spanish-American  war.  Cullen  Landis 
fine.  Earle  Williams,  Alice  Calhoun  and  Wanda 
Hawley  in  the  cast.    (June.) 

McGUIRE  OF  THE  MOUNTED— Universal.— 

Another  Northwest  Mounted  Police  story,  with  the 
usual  dauntless  hero.  Plenty  of  action  and  interest- 
ing to  those  who  like  these  stories.     (September.) 

MERRY-GO-ROUND— Universal.— One   of    the 

best  pictures  in  months.  A  Viennese  story,  with  the 
atmosphere  capitally  maintained,  and  exceptionally 
well  acted.     (September.) 

MICHAEL  O'HALLORAN  —  Hodkinson.  —  The 
too-sweet  story  of  a  Chesterfieldian  street  urchin, 
who  shows  a  lot  of  ricli  folk  how  to  behave.   (August.) 

MODERN  MARRIAGE  —  American  Releasing 
Corporation. — The  team  of  Beverly  Bayne  and 
Francis  X.  Bushman  return  in  a  commonplace  story 
smoothly  screened.     (June.) 

MYSTERIOUS  WITNESS.THE— F. B.O.— More 
formula  stuff.  The  sweet  and  ailing  mother,  the  self- 
sacrificing  son  and  the  rest  of  it.  Sickeningly  sweet. 
(September.) 

NE'ER-DO-WELL,  THE— Paramount.  —  Not 
altogether  successful,  nor  altogether  uninteresting, 
for  Thomas  Meighan  is  in  it.   Old-fashioned.    (July.) 

NOBODY'S  BRIDE— Universal.— A  runaway 
bride,  a  down-and-out  suitor  of  other  days,  a  bag 
of  jewels,  a  band  of  crooks,  etc.,  etc.     (June.) 

NOISE  IN  NEWBORO,  A— Metro.— Cinderella  of 
the  small  town  goes  to  the  city  and  comes  home  rich. 
Viola  Dana  gingers  up  this  weak  concoction.     (July.) 

NTH  COMMANDMENT,  THE  — Paramount- 
Cosmopolitan.  — The  brave  little  girl  struggles  to 
maintain  her  home  when  her  husband  falls  desperate- 
ly ill.     The  human  note  is  missing.     (July.) 

OLD  SWEETHEART  OF  MINE,  AN— Metro.— 
J.  Whitcomb  Riley's  poem  screened  with  considerable 
charm  and  touches  of  melodrama.      (July.) 

ONLY  38— Paramount.— A  delightful  handling  by 
William  de  Mille  of  a  most  appealing  story.  Lois 
Wilson's  role  fits  her  admirably,  and  May  McAvoy  is 
a  great  help.      (August.) 

OUR  GANG  COMEDIES— Pathe.— One  hundred 
per  cent  kid  stuff — for  the  whole  family.  Don't  miss 
Little  Farina,  age  two,  colored.     (June.) 

PENROD  AND  SAM— First  National.— One  of 
the  entertainment  gems  of  the  month.  Real  boys 
with  a  story  handled  by  William  Baudine,  who  re- 
members that  he  was  once  a  boy.  Don't  miss  it  if 
you  enjoy  kids.     (August.) 

PETER  THE  GREAT  —  Paramount.—  Another 
foreign  film,  with  that  truly  great  actor,  Emil  Jan- 
nings,  in  the  title  role.  This  is  a  real  picture  and  one 
that  should  not  be  missed.     (September.) 

PRODIGAL  DAUGHTERS  —  Paramount.  — 
Another  tirade  against  the  jazz  babies  of  1923.  This 
time  it  is  adapted  to  the  girl  who  leaves  the  old  home- 
stead only  to  return  in  the  snowstorm  of  Christmas- 
time.    (July.) 

PRODIGAL  SON,  THE— Stoll  Film  Corp. — 
Steeped  in  the  gloom  of  church  yards  and  death- 
beds, lost  loves  and  debts.      (July.) 

QUEEN  OF  SIN,  THE— Not  sinful  but  awful. 
The  queen's  sin  is  weight.     (June.) 


QUICKSANDS— American  Releasing  Corpora- 
tion.—Drug  smuggling  across  the  Mexican  border  is 
stopped  by  Lt.  Richard  Dix  and  Helene  Chadwick 
of  the  Secret  Service.     (June.) 

RAGGED  EDGE,  THE— Goldwyn.— A  Harold 
McGrath  romance,  with  a  lot  of  new  blood  in  the  cast 
From  China  to  the  South  Seas.     (August.) 

RAILROADED— Universal.— A  lesson  in  how 
wayward  sons  should,  and  should  not,  be  disciplined. 
Love  finds  a  way.     (August.) 

RAPIDS,  THE  —  Hodkinson. — A  conventional 
story  of  the  building  of  a  town  by  a  man  with  brains 
and  foresight.  The  steel  plant  scenes  are  excellent. 
(September.) 

RED  RUSSIA  REVEALED— Fox.— Half  scenic 
and  half  educational.  Shows  the  heads  of  Soviet 
Russia,  a  revolting  group,  but  worth  stud\ -. 
(September.) 

REMITTANCE  WOMAN,  THE— F.  B.O.— Ethel 
Clayton's  loveliness  shines  out  from  the  dim  and 
mystic  East,  where  Ethel  gains  a  sacred  vase  and 
nearly  loses  her  life.      (July.) 

RICE  AND  OLD  SHOES— F.  B.  O.— A  comedy  of 

the  honeymoon,  with  all  the  old  situations  worked 
overtime.     (August.) 

RUPERT  OF  HENTZAU— Selznick.— A  lively, 
romantic  tale,  with  lots  of  excitement  and  thrills,  but 
tar  behind  its  Anthony  Hope  predecessor,  "The 
Prisoner  of  Zenda."     (September.)     . 

RUSTLE  OF  SILK,  THE— Paramount.— The 
triangle  of  a  British  statesman,  his  unfaithful  wife 
and  an  adoring  lady's  maid,  who  loves  the  statesman 
from  afar,  isn't  much  of  drama.  But  told  with  fine 
taste  and  discretion.  Betty  Compson,  Anna  Q. 
Nilsson  and  Conway  Tearle  excellent.     (July.) 

r  SAFETY  LAST— Pathe.— Harold  Lloyd's  best- 
seven  reels  that  speed  like  two.  Prepare  for  laughter, 
shrieks  and  general  hysteria.    (June.) 

SAWDUST  —  Universal.  —  Unconfined  realism, 
starting  with  a  circus  and  ending  up  in  one  of  those 
palatial  homes  and  an  attempted  suicide.  (September.) 

SELF-MADE  WIFE,  THE— Universal.— Three- 
fourths  of  this  picture  is  good.  The  end  falls  badly. 
Also  unnecessarily,  just  to  work  in  a  jazz  party. 

(September.) 

SHADOWS— Preferred  Pictures.— An  idea  of  deli- 
cacy and  charm  has  been  translated  with  great  care 
to  the  screen  and  the  result  is  a  good  picture.  Tom 
Forman's  direction  of  Wilbur  Daniel  Steele's  prize 
story  "Ching,  Ching,  Chinaman"  is  as  inspired  as 
possible  in  view  of  the  fact  that  there  are  censors'. 
The  central  figure,  the  Oriental  laundryman,  remark- 
ably acted  by  Lon  Chaney,  is  a  fine  and  true  con- 
ception.    (January.) 

SHOCK,  THE— Universal.— Another  hideously 
clever  characterization  by  Lon  Chaney  as  a  cripple  of 
the  underworld.  The  miracle  idea  is  brought  in 
again.  Strong,  but  unpleasant — and,  of  course,  with 
a  happy  ending.     (August.) 

SHOOTIN'  FOR  LOVE— Universal.— Shell  shock 
is  the  underlying  theme  of  a  swift  Western.  The  hero, 
back  from  the  war,  walks  into  a  feud  which  is  fully  as 
exciting.     (September.) 

SHORT  SUBJECTS  —  Educational.  —  One  and 
two-reel  novelties,  grouped  together  in  interesting  bill. 
"Kinograms,"  a  Bruce  scenic,  "Speed  Demons," 
Gene  Sarazen  demonstrating  golf,  and  two  comedies. 

(September.) 

SINGLE  HANDED— Universal.— Hoot  Gibson  as 
an  eccentric  musician  who  discovers  a  buried  treasure. 
Hoot's  better  at  handling  hosses.      (June.) 

SIXTY  CENTS  AN  HOUR— Paramount.— An 
ambitious  soda  clerk  plans  to  marry  the  daughter  of 
the  bank  president,  and  go  into  business — all  on 
seven-fifty  a  week.     A  riot  of  laughter.     (July.) 

SLANDER  THE  WOMAN— First  National  — 
And  still  the  formula!  Beautiful  heroine,  wrongfully 
accused,  goes  to  the  Frozen  North.  There,  in  the 
great,  open  spaces,  things  happen.  Mostly,  good 
photography.     (August.) 

SNOW  BRIDE.  THE— Paramount.— A  forced  and 
artificial  story  of  life  in  a  Canadian  village.  Alice 
Brady,  even,  fails  to  register.     (August.) 

SNOWDRIFT— Fox.— A  cooling  Summer  picture. 
with  lots  of  ice  and  snow.  A  little  waif,  missionaries, 
Indians,  impossible  happenings.  Marries  a  reformed 
gambler  for  the  fade-out.     (August.) 

SOUL  OF  THE  BEAST— Metro.— Cinderella 
elopes  with  an  elephant.  Hard  time  has  Cinderella, 
but  all  ends  well,  even  for  friend  elephant.     (July.) 

SOULS  FOR  SALE— Goldwyn.— A  Cook's  tour 
of  the  Hollywood  studios.  A  false  and  trivial  story, 
but  it  takes  you  behind  the  camera  and  is  very  enter- 
taining.    (June.) 

SPOILERS,  THE— Goldwyn.— A  new  version  of 
the  Rex  Beach  Alaskan  romance,  with  a  capital  cast. 
As  thrilling  as  ever.  Milton  Sills  and  Noah  Beery 
stage  a  realistic  fight,  and  Anna  Nilsson  is  excellent  as 
the  dance  hall  girl.     (August.) 


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Photoplay  Magazine — Advertising  Section 


Is  This  a  Miracle? 

Beauty   Scientists   Call    It  That 

By  Marion  Frances 


ikin  was  sal-  Th5  Minutes  After 

w  dark,  muddy.  Black-  ££»£'  ^"TirtSiJ^i 

heads  helped  make  It  Ugly.  least  five  shades.      Blackheads 

Freckles,  too,  were  noted.  gone,   freckles    reduced.     "A 

miracle."   say  world's   beauty 

experts. 

The  thrill  of  seeing  your  skin  transformed  before  your 
own  eyes  in  5  minutes.  How  mysterious  blending  of  cer- 
tain plants  and  flowers,  without  "beauty  mud"  or  arti- 
ficial bleach,  purges  face  pores  and  presto! — a  skin  like  a 
baby's  instantly. 

Can  you  imagine  a  sallow  skin,  one  even  marred  by 
blackheads  and  freckles,  cleared  up  and  left  soft  and 
white  and  lovely  as  a  baby's  in  5  minutes?  It  sounds 
like  magic.    And  beauty  scientists  call  it  that. 

The  Inventor  is  an  Internationally  noted  beauty  spe- 
cialist His  miraculous  transformations  have  gained  tor 
him  the  title  of  "The  Man  Who WorksMiracleson Wom- 
en's Faces."  So  many  thousands  are  adopting  his  method 
that  it  is  said  a  woman  with  anytning  short  of  a  flawless 
complexion  soon  will  be  a  rarity. 

PURGES  THE  PORES 

The  Poralax  method  is  unlike  any  other  ever  perfected. 
Dermatological  authorities  say  it  has  no  parallel  in  the 
annals  of  heauty  culture.  It  is  a  simple  cream-poultice, 
compounded  of  plants  and  flowers,  that  affects  the  pores 
like  a  laxative  does  the  bowels — cleans  out  thepoisonous 
accumulations. 

Containing  no  bleach,  no  harsh  chemicals,  no  Clay,  it 
purges  every  pore  in  your  face  within  5  minutes.  You  ap- 
ply It  like  cold  cream  and  results  are  unbelievable  until 
you  see  them  with  your  own  eyes. 

At  the  recent  Beauty  Congress,  dark-skinned  women 
and  girls,  women  with  mottled,  ugly  skins  were  brought 
i  D  for  the  Poralax  treatment. 

In  one  application  their  skins  were  lightened  from  four 
to  seven  shades.  Blackheads  were  removed — every  one. 
Freckles  and  fine  lines  disappeared  as  if  by  magic.  Beauty 
experts  from  all  the  world  stood  awed  before  what  was 
done,  for  instant  beauty,  an  unattractive  woman,  trans- 
formed, had  become  a  reality. 

FOR  HOME  USE 

The  secret  preparation  —  Poralax  —  used  in  working 
these  amazing  skin  transformations  is  now  obtainable,  for 
home  use.  Your  dealer  will  supply  you  or  we  will  send 
direct  for  a  limited  time  a  regular  S2.50  jar  if  you  mail  the 
coupon  below,  together  with  SI. 00  to  cover  mailing  cost. 


r 


Mail  Today  for  Test  Jar 


"I 


International  Beauty  Institute 
Dept.  1023,  St.  Louis,  Mo. 

Send  regular  $2.50  Jar  Poralax  with  personal  direc- 
tions for  using.  I  enclose  S1.00  to  cover  mailing  cost 


Name. 


Address. 


I  City  (or  R.  F.  D.)  and  State 


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STEPPING  FAST— Fox.— Tom  Mix  mixes  with 
desperadoes.  He  saves  a  girl  from  the  rascals  after 
a  trip  to  China,  The  girl  says  "yes."     (July.) 

SUCCESS — Metro. — Sentimental  melodrama.  A 
screen  version  of  a  stage  play  which  was  not  a  success. 
(September.) 

SUNSHINE  TRAIL,  THE— First  National.— The 
story  of  a  nice  young  man  who  wants  to  spread  sun- 
shine everywhere  but  gets  under  a  cloud  in  his  own 
home  town.     (June.) 

SUZANNA— Allied  Producers.— Mack  Sennett 
tries  plot  instead  of  pies  without  so  much  success,  but 
Mabel  Normand  stirs  in  some  fine  humor.  Early 
California,  missions,  Spaniards — and  Mabel.    (June.) 

TEMPTATION— C.  B.  C.  Film  Sales  Corp.— 
Original  in  that  the  couple  who  are  struggling  un- 
happily under  the  weight  of  their  millions  do  not  lose 
the  bankroll  and  live  forever  in  a  cottage.     (July.) 

THREE  JUMPS  AHEAD— Fox.— Tom  Mix  and 

his  horse  Tony  leap  a  chasm  and  give  you  an  hour 
of    Western    thrill    with    love   interest.     (June.) 

THREE  WISE  FOOLS— Goldwyn  — A  screen  ver- 
sion of  a  stage  success,  with  much  hokum  but  with 
plenty  of  entertainment  and  appeal.     (September.) 

TIGER'S  CLAW— Paramount.— Jack  Holt  goes 
to  India,  gets  bit  by  a  tiger,  married  to  half-caste, 
and  mixed  up  in  poison  plots.     (June.) 

TOWN  SCANDAL,  THE— Universal.— Gladys 
Walton  is  a  chorus  girl  who  runs  out  of  a  job  and  goes 
home  to  write  her  memoirs  for  the  local  gazette.  Of 
course  the  poor  girl's  misunderstood.     (June.) 

TRAILING     AFRICAN     WILD     ANIMALS— 

Metro. — This  Martin  Johnson  picture  is  the  best  of 
its  kind.  The  best  animal  close-ups  ever  made,  and 
some  tremendous  thrills.     (July.) 

TRAIL  OF  THE  LONESOME   PINE,   THE— 

Paramount. — Mountaineers,  moonshiners,  Minter 
and  Moreno.  Also  Ernest  Torrence.  The  players 
are  the  thing.     (June.) 

TRIFLING    WITH    HONOR— Universal.— The 

story  of  a  home-run  king,  resembling  Babe  Ruth, 
who  is  the  idol  of  the  small  boys.  Intensely  dramatic 
and  worthy.     (July.) 

TRIMMED  IN  SCARLET— Universal— Char- 
acters displaying  their  lack  of  sense  in  a  way  that 
may  earn  your  pity  but  not  your  sympathy.     (June.) 

VANITY  FAIR— Goldwyn.— Hugo  Ballin's  work- 
manlike visualization  of  Thackeray's  novel.  Not 
brilliant,  but  adequate.     (June.) 

VENGEANCE  OF  THE  DEEP— American  Re- 
leasing Corp. — Sharks,  devil  crabs,  sea  weed  and 
treasure  chests  make  the  under-sea  pictures  inter- 
esting and  thrilling.  But  the  actors  on  dry  land  are 
not  so  interesting.     (July.) 

WANDERING  DAUGHTERS— First  National  — 
If  you  are  a  daughter,  wander  away  from  this  picture 
and  save  your  time  and  money.     (September.) 

WESTBOUND  LIMITED— F.  B.  O.— A  homely, 
sympathetic  tale  built  about  the  railroad  and  its  men. 
A  love  interest,  too — though  hardly  necessary.    (July.) 

WHAT  WIVES  WANT— Universal.— After  many 
reels  the  husband  realizes  that  all  business  and  no 
love  will  wreck  any  marriage.  You  probably  will 
realize  it  from  the  first.     (July.) 

WHERE  IS  MY  WANDERING  BOY  THIS 
EVENING — United  Artists. — A  Ben  Turpin  comedy, 
and  as  full  of  laughs  as  any  of  his  nonsense.  He  is 
vamped  in  this  one — and  compromised.    (September.) 

WHITE  FLOWER,  THE— Paramount.— Hawaii 
and  Betty  Compson  are  alluring.  Nothing  else 
matters  if  you  like  them.     And  who  doesn't?   (June.) 

WHITE  ROSE,  THE— United  Artists.— D.  W. 
Griffith's  latest,  bringing  Mae  Marsh  back  to  the 
screen.  The  star's  playing  is  wonderful.  So  are  the 
sets  and  photography.  The  story  is  not  so  much. 
Ivor  Novello,  Mr.  Griffith's  new  leading  man,  is 
highly  decorative.     (August.) 

WITHIN  THE  LAW— First  National.— An  ex- 
pensive production  with  big  names,  but  lacking 
inspiration  and  vitality.  Norma  Talmadge  seems 
afraid  to  act.  The  best  work  is  that  of  Lew  Cody  as 
the  crook.     (July.) 

WOMAN  OF  BRONZE,  THE— Metro— Clara 
Kimball  Young  as  the  wife,  who  after  disillusionment 
and  anguish  proves  to  be  the  ideal  woman  for  her 
husband.     (June.) 

WOMAN  WITH  FOUR  FACES— Paramount.— 
A  fast  moving  crook  melodrama,  always  interesting, 
with  some  excellent  acting  by  Betty  Compson.  A 
thrilling  aeroplane  escape  from  prison  a  feature. 
(September.) 

YOU  ARE  GUILTY— Mastodon  Films— Medi- 
ocrity with  a  distinguished  cast.     (June.) 

YOU  CAN'T  FOOL  YOUR  WIFE— Paramount. 
— Good  money  and  players  wasted  upon  an  absurd 
story.  Again  the  husband  on  the  edge  of  the  restless 
forties,  the  neglected  wife  and  the  regulation  vampire. 
(July.) 

YOUTHFUL  CHEATERS— Hodkinson—  A  story 
(if  the  country  youth  in  the  big  city.  Full  of  iazz  and 
Other  modern  features.  Glenn  Hunter  is  good. 
(September.) 


btudio  Directory 

For  the  convenience  of"  our  readers 
who  may  desire  the  addresses  of  film 
companies  we  give  the  principal  active 
ones  below.  The  first  is  the  business 
office;  (s)  indicates  a  studio:  in  some 
cases  both  are  at  one  address. 

ASSOCIATED    FIRST   NATIONAL   PICTURES 
6  West  48th  Street.  New  York  City 

Richard  Bartlielmess  Productions,  Inspiration 
Pictures,  565'Flfth  Avenue,  New  York  City 
Edwin  Carewe  Productions,  Associated  First 
Nat'l  Pictures.  619  Faciile  Finance  Bldg 
Los  Angeles,  Calif. 
Allen  Holubar  Productions.  Union  League 
Bids.,  Third  and  Hill  Streets,  Los  Angeles, 

Thomas  H.   Ince  Productions,  Incc  Studios, 

Culver  City,  Calif. 
John„2?    stanl  Productions,   Mayer  Studio, 

3800  Mission  Road.  Los  Angeles.  Calif. 
Norma  and  Constance  Talmadge  Productions, 

United  Studios.  Hollywood.  Calif. 
Maurice  Tourneur  Productions,  United 

Studios.  Hollywood,  Calif. 
Laurence  Trimble-Jane  Murfln  Productions 
Associated   First  Nat'l   Pictures,   6   West 
48th  Street.  New  York  City. 
Louis  Mayer  Productions,  3sod  Mission  Road 

Los  Angeles.  Calif. 
Richard   Walton  Tully   Productions,   United 
Studios,  Hollywood,  Calif. 
EDUCATIONAL    FILMS    CORPORATION,    370 
Seventh  Avenue,  New  York  City 

Christie  Comedies,   Christie  Film  Co  .   Inc 
Sunset  at  Cower  St.,  Los  Angeles,  Calif. 
Hamilton  Comedies,  Lloyd  Hamilton  Corp 
5341  Melrose  Avenue,  Hollywood,  Calif 
Mermaid  Comedies,  Jack  White  Corp.,  5341 
Melrose  Avenue,  Hollywood,  Calif. 
FAMOUS     PLAYERS-LASKY     CORPORATION 
(PARAMOUNT),  485  Fifth  Avenue,  New  York 
City. 

(s)  Paramount.   Pierce  Ave.   and   Sixth   St 

Long  Island  City,  N.  Y. 
(s)   Lasky,  Hollywood,  Calif. 
British  Paramount,   (s)   Poole  St.,  Islington, 

N.  London,  England. 
Wm.    S.    Hart  Productions,    (s)    1215  Bates 
Street,  Hollywood,  Calif. 
FOX  FILM  CORPORATION,   (s)   10th  Ave.  and 
55th  St.,  New  York  City,   (s)   1401  N.  Western 
Ave.,  Los  Angeles,  Calif,     (s)  Rome,  Italy. 
GOLDWYN    PICTURES    CORPORATION,    469 
Fifth  Avenue,  New  York  City;  (s)  Culver  City 
Calif.     Marshall    Neilan,    King    Vidor    Produc- 
tions and  Hugo  Ballin  Productions. 

International  Films,  Inc.  (Cosmopolitan  Pro- 
ductions), 729  Seventh  Avenue,  New  York 
City;  (s)  Second  Avenue  and  127th  St.. 
New  York  City. 

W.  W.  HODKINSON  CORPORATION,  469  Fifth 

Avenue,  New  York  City. 
MASTODON  FILMS,  INC..  C.  C.  Burr,  135  West 
44th  Street,  New  York  City;  (s)  Glendale,  Long 
Island. 
METRO  PICTURES  CORPORATION,  1540 
Broadway,  New  York  City:  (s)  Romaine  and 
Cahuenga  Avenue,  Hollywood,  Calif. 

Tiffany   Productions,    1540   Broadway.   New 

York  City. 
Buster  Keaton  Productions,  Keaton  Studio 

1205  Lillian  Way,  Hollywood,  Calif. 
Jackie  Coogan,   United  Studios,  Hollywood, 
Calif. 

PALMER  PHOTOPLAY  CORPORATION.  Palmer 

Bldg.,    Hollywood,    Calif.,    Producing   at   Thos 

H.  Ince  Studios,  Culver  City,  Calif. 

PATHE  EXCHANGE,  Pathe  Bldg.,  35  West  45th 

Street,  New  York  City;  (Associated  Exhibitors). 

Charles     Ray     Productions,     1428     Fleming 

Street,  Los  Angeles,  Calif. 
Hal    E.    Roach   Studios,    Inc.,   Culver   City. 

Calif. 
Ruth  Roland  Serials,  United  Studios,  Holly- 
wood, Calif. 
PREFERRED  PICTURES,  1650  Broadway,  New 
York   City;    (s)    Mayer-Schulberg   Studio,    3800 
Mission  Road,  Los  Angeles,  Calif.     Tom  Forman, 
Victor  Schertzlnger  and  Louis  J.  Gasnier  Pro- 
ductions. 
PRINCIPAL  PICTURES  CORPORATION,   1540 
Broadway,    New    York    City;    (s)    7200    Santa 
Monica  Blvd.,  Los  Angeles,  Calif. 
R-C    PICTURES    CORPORATION,    723    Seventh 
Avenue,  New  York  City;  (s)  Corner  Gower  and 
Melrose  Streets,  Hollywood,  Calif. 
ROTHACKER    FILM    MFG.    COMPANY,    1339 
Dlversey  Parkway,  Chicago,  Illinois;  Rothacker- 
Aller  Laboratories,  Inc.,  Hollywood,  Calif. 
UNITED  ARTISTS  CORPORATION,  729  Seventh 
Avenue,  New  York  City. 

George  Arllss  Productions,  Distinctive  Prod., 

366  Madison  Avenue,  New  York  City. 
Rex  Beach  Productions,  United  Artists  Corp., 

729  Seventh  Avenue,  New  York  City. 
Charlie  Chaplin  Studios.   1416  LaBrea  Ave., 

Hollywood.  Calif. 
D.     W.     Griffith     Studios,     Oricnta    Point, 

Mamaroneck,  N.  Y. 
Jack  Pickford,  Mary  Pickford  Studio,  Holly- 
wood. Calif. 
Mary     Pickford     and     Douglas     Fairbanks 

Studio,  Hollywood,  Calif. 
Mack    Sennett    Comedy    Productions,    Los 
Angeles,  Calif. 
UNIVERSAL     FILM     MFG.     COMPANY,     1600 
Broadway,  New  York  City;  (s)  Universal  City, 
Calif. 

Centurv  Comedies,  Circle  Blvd.,  Hollywood, 

Calif. 

VITAGRAPH     COMPANY    OF    AMERICA,    (s) 

East  15th  Street  and  Locust  Avenue,  Brooklyn, 

New  York;  (s)  1708  Talmadge  Street,  Hollywood, 

Calif. 

Whitman   Bennett   Productions,   537   River- 
dale  Ave.,  Yonkers,  New  York. 
WARNER  BROTHERS,  1600  Broadway,  New  York 
City;  (s)  Sunset  Blvd.  at  Bronson,  Los  Angeles. 
Calif. 


Every  advertisement  In  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


l3 


Make  Your  Honeymoon 
Dreams  CoitieTrue/ 


iff 


LIONEL  STRONGFORT 
Dr.    Sargent,    of    Harvard,    declared    that 
"  Strongfort   is  unquestionably  the  finest 
specimen    of    physical     development    ever 


"Shattered  ideals,  broken  promises,  and  the  discovery  of  weaknesses, 
bad  habits  and  tendencies  hidden  during  courtship  days  are  the  cause  of 
misery  in  marriage  and  divorce.  These  destroying  elements  are  under- 
mining the  family  unit  and  eating  away  the  basic  fabric  of  our  civiliza- 
tion."— Lionel  Strongfort. 

Be  True  to  Your  Marriage  Vows ! 

Courtship  days  lay  the  foundation  of  your  future  happiness  or  woe  in  married  life. 
You  have  shown  the  very  best  side  of  your  character  to  that  sweet  girl  who  has  in  full 
faith  given  herself  and  soul  into  your  keeping.  She  looks  up  to  you  as  the  Prince  Charm- 
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real  red-blooded  man  capable  of  fathering  healthy  little  ones. 

Don't  Wreck  Her  Happiness 

Her  eyes  are  clouded  by  Romance  and  her  love  for  you.  She  cannot  know  the  things 
about  your  past  that  YOU  know.  Her  judgment  is  prejudiced  and  she  cannot  see  thru 
the  Eyes  of  Love  your  many  faults  and  weaknesses  that  are  so  apparent  to  everyone  else. 
Yet  you  dare  not  deceive  her  and  wreck  her  happiness. 

You  have  sown  a  big  crop  of  "wild  oats."  You  know  quite  well  that  the  girl  you 
love  will  reap  most  of  the  harvest  if  you  continue  in  your  present  weakened, contaminated 
and  devitalized  condition.  YOU  KNOW  THAT — and  you  know  that  her  faith  in  you 
as  a  man  would  not  survive  the  truth.  You  are  facing  the  crisis  of  your  life.  Your 
decision  now  will  influence  your  whole  future  and  hers.  It  looks  dark  and  hopeless  to 
you,  but  there  is  a  way  out.  I  can  help  you.  I  have  devoted  my  entire  life  to  the  study 
of  Nature's  unfailing  corrective  forces.  I  have  helped  to  save  thousands  of  men  in  your 
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Brace  Up.  Be  true  to  the  best  that  is  in  you  for  the  sake  of  the  girl  you  love.  You 
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Constipation,  Indigestion,  Asthma,  Hay  Fever,  Nervousness,  Biliousness,  and  the  nu- 
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Mr.  Lionel  Strongfort.  Dept.  717,  Newark.  N.  J. — Please  send 
me  your  book.  "PROMOTION  AND  CONSERVATION  OF 
HEALTH,  STRENGTH  AND  MENTAL  ENERGY,"  for  post- 
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information  on  subjects  marked  (X)  below,  as  well  as  those  I 
may  write  on  extra  line,  without  obligation: 

.Despondency 
.  Female  Disorders 
Skin  Disorders 
Vitality  Restored 
Falling  Hair 
Deformity  (Describe) 
Stomach  Disorders 
.  .Successful  Marriage 
.  .  Pimples 
.  .  Blackheads 
.  .Round  Shoulders 
.  .Lung  Troubles 
.  .Weak  Back 
.  .Drug  Addiction 
.    Healthy  Children 
.  .Weaknesses  (Specify) 
..Muscular  Development 
Great  Strength 


.  Colds 

Fear 

.Catarrh 

.  Neurasthenia 

.Hay  Fever    . 

Short  Wind 

Asthma 

.  Flat  Feet 

.Obesity 

.  Constipation 

.Headache 

.  Biliousness 

.Thinness 

.Torpid  Liver 

.Rupture 

.  Indigestion 

.Lumbago 

.  Nervousness 

.Neuritis 

.  Poor  Memory 

.Neuralgia 

Virility 

.Flat  Chest 

.Rheumatism 

.  Insomnia 

.Gastritis 

Bad  Breath 

.  Prolapsus 

Bad  Blood 

.Heart  Weakness 

.  Weak  Eves 

.Poor  Circulation 

.  Anemia 

.  Increased  Height 

Debility 

Easy  Childbirth 

LIONEL   STRONGFORT! 


Dept.  717 


Physical  and  Health  Specialist 

Newark,  New  Jersey 


Age Occupation 


Special  Notice: — Lionel   Strongfort,   the    World's   Famous   Athlete  and  Physical  and  Health 
Specialist,  has  achieved  wonderful  results  uitli  the  Principles  of  Strongfortism.  Thousands  of  pupils 
throughout  the  world  have  testified  to  the  benefits  gained  under  his  guidance.   He  enjoys  an  excelU  nt 
eputatfon  in  his  profession  and  can  be  depended  upon  to  do  exactly  as  he  promises. 


■: 


Xo  mutter  trim/  ails  i/ou  write  me  fully  about  il  and  I  shall  prove 
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City. 


3E 


3E 


33 


When  you  write  to  adYertiten  pleaae  mention  I'lioTui'LAY  magazine. 


English  Favorites 

Waldegrave  Road, 
Ealing,  London,  England. 
Editor  Photoplay  Magazine. 

Dear  Sir:  I  am  writing  in  praise  of  British 
pictures  and  players.  I  am  sure  that  our  best 
films  are  not  shown  in  America.  We  have  in 
England  artists  who  can  act  extremely  well. 
Miss  Betty  Balfour  is  an  English  comedienne 
who  is  as  great  an  actress  as  Miss  Pickford 
herself.  I  do  not  think  that  her  pictures  have 
been  shown  in  America,  but  I  will  give  the 
titles  of  them  in  case  they  are  ever  shown.  She 
has  appeared  in  "Squibs,"  "Squibs  Wins  the 
Calcutta  Sweep,"  "Mord  Emily,"  "Wee  Mac- 
Gregor's  Sweetheart,"  and  "Life,  Love  and 
Laughter." 

Miss  Fay  Compton,  our  beautiful  dramatic 
actress,  and  Mr.  Give  Brook  have,  I  believe, 
been  seen  on  the  screen  in  America,  but  it  is 
in  "This  Freedom"  that  your  readers  should 
see  them.  Miss  Compton's  acting  in  this  pic- 
ture surpasses  anything  Norma  Talmadge  has 
ever  done. 

Miss  Peggy  Hyland  and  Miss  Mae  Marsh 
appear  to  better  advantage  in  English  pictures 
than  they  do  in  America. 

It  appears  that  you  have  only  our  spectac- 
ular pictures  in  America,  such  as  "Carnival" 
and  "The  Bohemian  Girl;"  these  are  not  to  be 
compared  with  our  other  productions. 

Clive  Gay. 

The  Faithful  Fan 

Ashley,  Mass. 
Editor  Photoplay  Magazine. 

Dear  Sir:  Your  magazine  always  has  a 
number  of  interesting  features,  but  I  usually 
read  Cal  York's  column  before  anything  else. 
If  one  wants  a  newsy  resume  of  what's  what 
in  filmdom  it's  there,  all  that  Cal's  discretion 
permits. 

Then,  too,  there  have  been  pictures  of  Bill 
Reid  and  Dorothy  Davenport,  and  little  items 
about  them.  I'm  sure  the  fans  who  loved 
Wally  will  like  that.  After  one  has  watched 
for  pictures  and  news  of  Wally  for  some  seven 
years,  the  screen  and  magazines  seem  lone- 
some if  there  is  nothing  to  remind  us  of  him. 
It  may  be  foolish,  but  I  wish  you  would  pub- 
lish his  picture,  too,  once  in  a  while. 

The  other  day  I  saw  a  picture  of  Wally 
when  he  was  four  years  old  and,  comparing  it 
with  some  of  little  Bill  in  my  scrapbook,  the 
resemblance  was  rather  startling.  It  will  be 
interesting  to  see  if  the  boy  grows  up  to  look 
like  his  father.  Perhaps  some  twenty  years 
from  now  we  fans  will  see  another  William 
Wallace  Reid  on  the  screen. 

Meanwhile,  tell  us  the  news  about  Dorothy 
and  Betty  and  Bill. 

E.  M.  Stone. 

Two  Out  of  Thirty-Eight 

Cincinnati,  Ohio. 
Editor  Photoplay  Magazine. 

Dear  Sir:  May  I,  through  the  medium  of 
your  magazine,  present  a  word  of  praise  for  the 
superb  acting  of  Lois  Wilson  and  May  McAvoy 
in  the  production  "Only  38." 

Their  smooth,  faultless  characterizations  and 
acting  in  this  picture  make  it  one  worth  while. 
But  why,  oh  why,  are  they  not  given  the  op- 
portunity and  praise  they  so  richly  deserve? 
Each  of  these  players  makes  the  character  as- 
signed her  a  real  person,  and  you  can  always 
depend  on  a  fini-hed  and  graceful  performance 
from  each  of  them.  Many  a  time  they  have 
walked  away  with  the  acting  honors.  Give 
me  the  intelligence  shown  in  the  performances 
of  Lois  Wilson  and  May  McAvoy  in  prefer- 
ence to  all  the  other  so-called  stars  of  today 
Let  honor  be  given  where  honor  is  due. 

R.  C.  Amner. 

u 


Brickbats 
Bouquets 

LETTERS 
FROM  READERS 


The  readers  of  Photoplay  are 
invited  to  write  this  department 
— to  register  complaints  or  com- 
pliments— to  tell  just  what  they 
think  of  pictures  and  players. 
We  suggest  that  you  express  your 
ideas  as  briefly  as  possible  and 
refrain  from  severe  personal  crit- 
icism, remembering  that  the 
object  of  these  columns  is  to  ex- 
change thoughts  that  may  bring 
about  better  pictures  and  belter 
acting.  Be  constructive.  We  may 
not  agree  with  the  sentiments  ex- 
pressed, but  we'll  publish  them 
just  the  same!  Letters  should  not 
exceed  ZOO  words  and  should  bear 
the  writer' sf till  name  and  address. 


Not  a  Roman  Audience 

Richmond,  Virginia. 
Editor  Photoplay  Magazine,     v 

Dear  Sir:  After  reading  Mr.  James  R. 
Quirk's  article  in  July's  issue  of  Photoplay, 
I  feel  as  if  it  is  my  duty  to  write  you  a  few 
lines,  telling  you  that  I  heartily  endorse  Mr. 
Quirk's  attitude  in  regard  to  Lon  Chaney's 
torturing  himself  in  trying  to  make  his  disguise 
as  a  hunchback  in  "The  Hunchback  of 
Notre  Dame"  realistic.  The  public,  I  know, 
does  not  wish  these  things,  and  would  be  far 
more  satisfied  with  a  poor  representation  than 
to  inflict  pain  and  cause  one's  health  to  become 
impaired  for  their  entertainment;  we  cannot 
take  the  responsibility. 

F.  L. 

Reginald,  Maurice  and  Mary 

San  Diego,  Calif. 
Editor  Photoplay  Magazine. 

Dear  Sir:  Three  cheers  for  Reginald  Denny! 
"The  Abysmal  Brute"  justifies  all  expectations 
of  him.  His  acting  in  the  dinner  scene  is 
de-licious  and  his  love  making  "what  every 
girl  wants."    More  power  to  you,  Reggie. 

Welcome  back,  Maurice  Costello.  You  still 
have  that  wonderful  screen  personality  that 
made  us  all  love  you  so  in  the  early  days  of 
moviedom. 

"Our  Mary"  was  making  some  pictures  here 
in  the  park  not  so  long  ago,  and  a  little  old  lady 
from  the  East  watched  her  idol  with  so  much 
interest  that  Mary  took  the  trouble  to  make 
friends  with  her  between  scenes.  Actually  to 
talk  with  America's  Sweetheart!  It  was  a  high 
light  in  that  little  old  lady's  life,  but  that 
simple  incident  in  itself  shows  something  of 
the  bigness  of  soul  of  our  beloved  Mary — it 
makes  us  understand  why  she  holds  the  place 
she  does. 

A  Reader. 


The  Paramountization  of  Pola 

Los  Angeles,  Calif. 
Editor  Photoplay  Magazine. 

Dear  Sir:  Herewith  I  want  to  protest 
against  the " Paramountization  "of  Pola  Negri, 
as  shown  in  "Bella  Donna."  She  was  our 
favorite  screen  actress,  not  because  we  are  not 
loyal  Americans,  but  because  we  believe  that 
art  is  international,  and  genius  an  accident  of 
birth  anywhere!  Art  of  any  kind  in  this 
country,  like  anything  that  has  been  commer- 
cialized, has  been  standardized.  So  it  is  with 
screen  heroines,  and  Pola  was  pressed  into  the 
Lasky  standard  mould.    Why  did  they  do  it? 

We  had  read  glowing  accounts  of  how  Holly- 
wood make-up  and  superior  photography  would 
make  Pola  even  more  alluring  than  ever,  and, 
with  memories  of  the  beautiful  Du  Barry  in 
"Passion,"  the  wonderfully  human  Carmen  in 
"Gypsy  Love,"  and  her  other  characteriza- 
tions, we  went  to  see  "Bella  Donna,"  expecting 
to  be  dazzled.    But  what  did  we  see? 

A  poor  imitation  of  Gloria  Swanson,  Bebe 
Daniels,  Agnes  Ayres  and  other  standardized 
heroines  of  the  Lasky  mould,  into  which  the 
gorgeous  Pola  was  pressed  and  her  art 
suppressed! 

Why,  she  was  even  made  to  drop  her  easy, 
erect,  natural  carriage  and  to  walk  like  Gloria, 
etc.,  with  her  shoulders  hunched  up  and  her 
head  down  between  them  like  a  panther,  giving 
a  wide,  outward  curve  to  her  chest.  Oh,  Pola, 
how  could  you?  The  others  know  not  what 
they  do,  but  you  know! 

And  her  make-up,  herrepressed  facial  expres- 
sions, her  hair  neither  short  <nor  long;  none 
showed  the  Pola  we  knew  exept  in  occasional 
flashes.  Could  it  be  possible  that  a  double  was 
used? 

The  script  was  inconsistent.  'At  first  Ruby 
Chepstow  excited  our  sympathy  as  the  victim 
of  a  silly,  jealous  husband,  and  her  transfor- 
mation into  a  calculating  vampire  was  not  well 
told.  Pauline  Frederick  made  a  version  of 
"Bella  Donna"  several  years  ago  and  Pauline 
was  beautiful.  Pola,  in  this  version,  was  not! 
Now  she  is  making  Fannie  Ward's  great  success, 
"The  Cheat,"  and  once  again  comparisons, 
which  Shakespeare  justly  said  were  odious,  are 
invited. 

Go  back  to  Europe,  Pola,  and  save  your  art, 
before  it  is  crushed  into  the  "dumbell"  mould! 
M.  L.  McLean. 

Pretty  Is  as  Pretty  Does 

San  Francisco,  Calif. 
Editor  Photoplay  Magazine. 

Dear  Sir:  I  would  like  to  know  just  who  it 
was  that  started  the  pretty  young  man  vogue 
in  the  films?  Whom  shall  we  blame — Rex 
Ingram?  Then  lead  him  on  for  the  slaughter, 
for  I,  for  one,  am  thoroughly  fed  up  on  these 
beautiful  creatures  who  adorn  the  silver  screen 
all  too  frequently  of  late.  Continue  to  give  us 
the  rugged  types  such  as  Thomas  Meighan, 
Milton  Sills,  John  Bowers,  Conrad  Nagel  (not 
so  rugged,  but  wholesome,  nevertheless),  as 
well  as  the  charming  Moore  boys,  and  the 
likable  Kenneth  Harlan  and  Harrison  Ford,  and 
a  number  of  others  who  have  so  long  and  so 
consistently  satisfied  us.  Among  all  these 
"good-to-look -at"  chaps  there  is  only  one  who 
is  manly  as  well  as  handsome,  and  that  is 
Richard  Barthelmess,  who,  beside  all  this,  is 
an  artist  and  not  merely  an  actor.  I  once 
admired  Valentino,  but  I  think  he  is  of  late 
cheapening  himself. 

A  parting  word  for  Albert  Roscoe,  whose 
personality  impressed  us  in  "Java  Head,"  as 
well  as  Jacqueline  Logan.  The  exquisite 
beauty  of  the  latter  is  almost  heart-rending  at 
times — and  it's  so  natural.  May  McAvoy  is 
another  genuine  and  unpress-agented  beauty. 
But  beyond  doubt,  it  is  to  Raymond  Hatton 
that  the  honors  for  this  play  should  go. 

Ruth  Mathews. 


W* 


Photoplay  Magazine— Advertising  Section 


9P]aaac    ReadThi9 
MTi CtCa  Description 

Soft  Cotton  Comforter—  A  good  size  com* 
fgraf  °.'  'ich.  soft  thickness.  Scroll  stitch. 
filled  with  pure,  sweet,  sanitary  white  cotton, 
with  a  good  wearing  cambric  cover,  in  rich  floral 
design,  both  sides  alike.  Measures  about  71x76 
inches.  Weight  about  6X  pounds. 
Ooub.»  Plaid  Blanket*  —  Here  fs  an  on- 
osually  fine  texture  wool  finished  double  coN 
ton  blanket.  Has  carefully  stitched  shell  bind- 
ing-. Made  with  a  wool-like  finish  which  fa 
produced  by  a  special  process  of  manufacture 
and  the  use  of  China  cotton.  By  actual  test 
these  blankets  have  proved  to  be  practically 
as  warm  as  all-wool  blankets.  Popular  color- 
ings. Sizeaboot66x80in.  Weight  about  3>i  lbs. 
S5"."??a?  Bedspread  —  A  magnificent  cro- 
cheted bed  spread.  Made  of  close  woven  lonir 
staple  New  England  cotton  yarn.  Bleached  to  a 
enow-flake  white.  Launders  perfectly.  Choice 
patterns.  Size  about  78  x  90  in.  Weight  about 
JH  pounds.  Corners  cut  out  eo  spread  will  lie 
perfectly  smooth  and  flat  opon  the  bed.  With 
overlooked  stitch  scalloped  edges. 
2-Sets  3  Piece  Lace  Curtains  —  Attractive 
Dutch  Design.  Good  quality  Nottingham 
weave.  Each  curtain  is  a  3  piece  set.  End 
curtains  are  about  Hi  yds.  long  and  about  24 
in.  wide.  Center  valance  is  24  in.  wide.  Made 
with  beautiful  lace  edge  and  famous  over- 
locked  stitch  edge.  Come  headed  and 
ready  to  hang  on  the  rod.  Will  fit  any  window 
up  to  70  in.  wide.  White  only.  Launder  per- 
fectly. 2  complete  sets  with  each  outfit. 
2  Bed  Sheets— These  seamed  sheets  areextra 
heavy,  bleached  to  a  snowy  whiteness,  nicely 
hemmed  and  beautifully  finished.  Size  about 
90x72  id.  Two  sheets  furnished  with  each  on  tfit. 
2  Pillow  Cases— These  are  made  of  the  same 
quality  as  the  sheets,  bleached  to  pure  snow- 
j  m te*  o'cely  made  and  beautifully  hem- 
me?-  w'."  B,ve  unquestionably  long  service 
.  f°d  will  launder  perfectly.  Size  about  42x35 
ins.  Two  pillow  cases  furniBhed.  Shipping 
weight  or  entire  outfit  about  15  Dounds. 
Order  by  N0.C761 1  a.  S 1 .00  with  coupon,  $2.00 
a  month.  Price  for  all  9  pieces,  only  $19.95. 


Wonderful  bargainl 
A  complete  outfit  of 
bed   equipment  — 

nine  useful  pieces — things  you  need— things  every  proud  housewife  ought  to  have— and  the 
whole  outfit  costs  you  less  than  50c  a  week,  just  $2.00  a  month  —  surely  you  can  easily  save  that 
much  on  other  things!    Mail  the  coupon  today.     We  send  all  these  9  pieces  on  approval. 

30  Days  Trial— Easy  Payments 

When  you  get  this  complete  9-piece  bedroom  outfit,  use  it  freely  for  30  days.  See  for  your- 
self the  beauty  and  quality  of  each  piece.  Note  how  the  curtains  and  handsome  bedding 
beautify  your  bedroom.  Then,  if  not  satisfied  for  any  reason,  return  the  set  at  our  expense 
and  we  will  refund  your  S1.00  at  once  and  any  express  or  parcel  post  you  paid.  But 
if  you  decide  to  keep  the  set,  start  paying  only  $2.00  a  month  until  you  have  paid  $19.95— 
payments  so  low  and  so  convenient  that  you  will  scarcely  know  that  you  spent  the  money. 
Think  of  the  value.  Such  an  amazing  bargain  and  your  bedroom  like  new!  If  you  were 
to  buy  these  pieces  singly  they  would  cost  you  almost  twice  as  much  as  we  ask  on  this  great  combination 
offer.  Could  you  duplicate  this  offer  ever,  anywhere  for  spot  cash?  We've  smashed  the  cash  price  while 
giving  almost  a  year  to  pay.  We  trust  honest  people  anywhere  in  the  O.  S.  No  discount  for  cash,  nothing 
extra  for  credit.    No  C.  O.  D. 


Send  Coupon 

Don't  delay.  Just  send  $1.00  along  with 
the  coupon  as  deposit.  If  you  are  not 
fully  satisfied  after  using  the  set  for  30 
days,  your  dollar  will  be  refunded,  plus 

Free  Bargain 
Catalog Show8thoos 


i  ands  of  bar- 
gains  in  furniture,  rugs, 
crockery,  stoves  and  jewelry, 
all  on  easy  terms.  Sent  with 
orwithoutorder.  Seecoupon. 


all  express  or  parcel  post 
charges  you  paid.  You  do  not 
risk  one  cent.  A  special, 
limited,  reduced  price  offer. 
First  come,  first  served  Read 
that  coupon  NOW! 


STRAUS  &  SCHRAM,  Dcpt.  1727        Chicago 


Straus  &  Schram,  Dept.  1727  Chicago 

Gentlemen:— Enclosed  you  will  find  $1.00.  Ship  special 
advertised  9-piece  Bedroom  Outfit.  I  am  to  have  30 
days  trial.  If  I  keep  the  outfit,  I  will  pay  balance  at 
$2.00  per  month.  If  not  satisfied,  I  will  return  the 
outfit  within  30  days  and  you  agree  to  refund  my 
dollar  and  any  express  or  parcel  post  charges  1  paid. 
Pieces  not  sold  separately. 

D  9-Piece  Bedroom  OutlilNo.  C7G1 10,    S19.9S. 


Name 

St    R.F.D. 

or  Box  No 

Shipping 

Point 

Post  Office State 

If  you  want  ONLY  our  Free  Catalog  I     I 
of  Home  Furnishings,  mark  X  here  L_l 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


ib 


Photoplay  Magazine — Advertising  Section 


CLASSIFIED     ADVERTISING 

Rate  35  cts>  per  word. 
FORMS  FOR  DECEMBER  ISSUE  CLOSE  OCTOBER  TENTH 


AGENTS    AND    SALESMEN 


WE  START  YOl"  WITHOUT  A  DOLLAR.  SOAPS, 
Extracts,  Perfumes,  Toilet  Goods.  Experience  unneces- 
sary.    Carnation  Co.,  Dept.  2tii.  St.   Louis. 

WE  START  YOL  IN  IICSINESS.  FURNISHING 
ererytbine;  men  and  women.  530.00  to  $100.00  weekly, 
operating  our  "New  System  Specialty  Candy  Factories" 
nnvwliere.  Opportunity  lifetime;  vnluM.le  booklet  free, 
w.  Hillyer  Ragsdale.  Drawer  00.  East  Orange.  New 
Jersey.  

AGENTS:        $12      DAILY      EASY'.       INTRODUCING 

Ladies'  Sweaters  in  silks,  wool  and  artificial  silk:  12 
colors.  Latest  novelties.  Going  like  wildfire.  You 
Simply  show  sainplis  we  furnish,  take  orders,  we  de- 
liver and  collect.  Your  pay  daily.  Mac-O-Chee  Mills 
any.    Form    10810,    Cincinnati.    Ohio. 

"S10  A  DAY  AND  MORE."  OUR  NEW  BOOK, 
Shows  clearly  how  you  may  gain  sure  success  and  large 
profits  selling  Guaranteed  Hosiery  and  Underwear. 
Factory'  to  family.  It  is  Free.  Write  today.  C  &  D 
Company.    50  E.    Grand    Rapids.    Mich. 

WANTED— TAILORING  SALESMEN.  MAKE  S60  TO 
$125  i>er  wee!..  Iti^tst  merchants  in  many  towns 
have  started  with  our  lines.  We  are  t lie  largest  made- 
to-measure  tailoring  house  in  the  country,  furnishing 
elaborate  sample  equipments,  including  500  all  wool 
fahrics.  and  guaranteed  absolute  satisfaction,  perfect 
fit.  best  workmanship,  or  no  sales.  Write  me  for  line 
and  all  accessories  to  he  sent  free.  Tell  us  all  ahotit 
pourself.  Address  G.  H.  Powers,  Sales  Manager,  Box 
is  3.   Chicago,   initio's. 

MAKE  $25  TO  $50  WEEK  REPRESENTING 
Clows'  Famous  Philadelphia  Hosiery,  'direct  from  mill 
— for  men.  women,  children.  Even'  pair  guaranteed. 
Prices  that  win.  Free  Book,  "How  to  Start."  tells  the 
story,  George  Clows  Comiwny,  Desk  84.  Philadelphia, 
Pa. 

$5  TO  $l.-i  DAILY  EAST— INTRODUCING  NEW 
Style  Guaranteed  Hosiery.  Must  wear  or  replaced  free. 
No  capital  or  experience  required.  Just  sUo'v  samples, 
\nte  orders.  Your  pay  in  advance.  We  deliver  and 
collect.  Elegant  outfit  furnished,  all  colors  and  grades, 
including  silks,  wool,  and  heathers.  Mac-O-Chee  M!lls 
Cimpany,     Desk    21110,    Cincinnati,    Olr'o. 

BIG  STEADY  INCOME.  NO  INVESTMENT.  PP.O- 
tected  territory.  Sell  Harper's  ten-use  brush  set. 
Sweeps,  scrubs,  washes  windows,  cleans  walls,  etc. 
Big  seller  14  years.  Scores  making  pp  to  $:!0  daily. 
Investigate  this.  Harper  Brush  Works.  130  A  St., 
Fairfield,   Iowa. 

$RO-$200  A  WEEK.  GENUINE  GOLD  LETTERS 
for  store  windows.  Easily  applied.  Free  samples. 
Liberal  offer  to  general  agents.  Metallic  Letter  Co., 
136-A    North    Clark,    Cliicago. 

SELL  TAILORING.  ONE  PRICE  LINE:  MORE 
than  100  All  Wool  Fahrics  to  sell  at  $31.75  for  tailored- 
to-measure  suit.  Also  handsome  showing  of  overcoat- 
ings and  ladies'  man-tailored  coats.  Every  ortler  pays 
you  good  profit  cash  in  hand.  Experience  not  necessary. 
We  furnish  you  handsome  outfit  and  most  effective 
selling  helps.  Write  Dept.  618.  Goodwear  Chicago, 
Inc.,    Chicago. 

AGENTS— 200<-'„  PROFIT.  WONDERFI'L  LITTLE 
article.  Something  new;  sells  like  wildfire.  Carry  right 
in  pocket.  Write  at  once  for  free  sample.  Albert 
Mills,  Manager,  9838  American  Building,  Cincinnati, 
Ohio. 

START  YOI'R  OWN  BUSINESS  AS  OUR  SOLE 
rtent,  selling  100  famous  home  products.  All  or  snare 
time.  Dr.  Blair  Laboratories,  Dept.  522,  Lynchburg, 
Va. 

BUSINESS    OPPORTUNITIES 

MAKE  MONEY  WITH  YOUR  CAMERA.  WRITE 
I.ancasta.    Box   0G7,    Lcs    Angeles. 

HELP    WANTED 

ALL     MEN.     WOMEN,     BOYS.     GIRLS.     17    TO     60 

willing  to  accept  Government  Positions,  $117-100,  travel- 
ing or  stationary,  write  Mr.  Ozment,  265  St.  Louis, 
Mo.,   immediately. 

BE  A  DETECTIVE:  EXCELLENT  OPPORTUNITY: 
good  pav;  travel.  Write  C.  T.  I.udwig,  307  Westover 
P.hlg..   Kansas  City.    Mo. 

WOMEN  TO  SEW.  GOODS  SENT  PREPAID  TO 
your  door:  plain  sewing;  steady  work:  no  canvassing: 
send  stamped  envelope  for  prices  paid.  Universal  Com- 
pany.   Dept.    21.    Philadelphia.    Pa. 

DETECTIVES  EARN  BIG  MONEY.  EXCELLENT 
r.pportunity.  Experience  unnecessary.  Particulars  free. 
Write.  American  Detective  System,  1068  Broadway, 
New    York. 


HELP   WANTED 


GIRLS  — WOMEN.  LEARN  DRESS  DRAPING  — 
Making.  $30  week.  Sample  lessons  free.  Write  Imme- 
diately. Franklin  Institute.  Dept.  11-507,  Rochester, 
New    York. 

EARN  MONEY  AT  HOME  DURING  SPARE  TIME 
painting  lamp  shades,  pillow  tops  for  us.  No  can- 
vassing. Easy  and  interesting  work.  Experience  un- 
necessary.    Nileart  Company,   2220,  Ft.   Wayne,  Indiana. 


EARN  $20  WEEKLY  SPARE  TIME,  AT  HOME, 
addressing,  mailing  music  circulars.  Send  10c  for 
music,  information.  American  Music  Co.,  ItiSS  Broad- 
way,   Dept.    A-4,    N.    Y. 

U.     S.     GOVERNMENT    WANTS    MEN— WOMEN,    IS 

up.  $1140  -$2300  year.  Steady  work.  Shirt  hours. 
Vacation.  Experience  unnecessary.  Common  education 
sufficient.  List  free.  Franklin  Institute.  Dept.  B-134, 
Rochester,    N.    Y. 

PATENTS 

TATENTS.  WRITE  FOR  FREE  GUIDE  BOOK 
and  Evidence  of  Conception  Blank.  Send  model  or 
sketch  for  opinion  of  its  patentable  nature.  Highest 
deferences.  Prompt  Attention.  Reasonable  Terms. 
\  ictor  .7.   Evans  *  Co.,   763  Ninth,  Washington.  D.   C. 

INVENTORS  DESIRING  TO  SECURE  PATENTS 
should  write  for  our  hook.  "How  To  Get  Your  Patent." 
Send  model  or  sketch  of  invention  for  free  opinion  of 
patentable  nature.  Randolph  &  Co.,  Dept.  462,  Wash- 
ington, D.  C. 

INVENTIONS  COMMERCIALIZED,  PATENTED  OR 
unpatented.  Write  Adam  Fisher  Mfg.  Co.,  1S7,  St. 
Louis.    Mo. 

POEMS-VERSES 

$500.00  PRIZE  CONTEST.  IF  YOU  WRITE  THE 
best  fourth  verse  of  our  song  "Empty  Arms,"  you 
will  receive  $500.00.  Send  your  name  and  we  shall 
send  you  free  the  contest  rules  and  words  of  this 
song.  World  Corp.,  245  W.  47th  St.,  Dept.  751A, 
New   Ytrk. 

PHOTOPLAY     TEXT     BOOKS 

SEND  TODAY'  FOR  FREE  SAMPLE  OF  WRITER'S 

Digest,  America's  greatest  magazine  for  writers.  Filled 
with  practical  articles  by  leading  writers.  Will  help 
you  write  and  sell  stories,  t Iiotoplays,  etc.  611  Butler 
Bldg.,  Cincinnati. 

OF    INTEREST   TO    WOMEN 

SWITCHES  MADE  FROM  COMBINGS.  THE  NEW 
way.  Write  for  style  booklet.  Mis.  E.  Vandervoort, 
Davenport,    Iowa. 


A  Ray  of  Light 


MANUSCRIPTS— TYPING 


MANUSCRIPTS  EXPERTLY'  TYPED  AND  COR- 
rccted.      Vivian   Conway,    4008    Kenmore   Ave.,    Chicago. 

LEYLAII  OPAL  WINSTEAD,  AUTHORS'  RSPRE- 
sentative,  will  type  your  manuscripts  correctly.  Dur- 
ham,  North   Carolina. 

ATTENTION  STORY  AND  PHOTOPLAY  WRITERS: 

The  service  you've  been  looking  for:  Register  your 
Scenarios  ami  Stories  with  us.-  We  give  each  story  a 
reference  number  and  keep  it  on  file  in  Los  Angeles 
where  pictures  are  made.  Send  your  story  today  for 
registration  with  us:  enclose  $1.00  stamira  or  check 
covering  our  registration  fee.  The  Registry  Company, 
1105  Lane  Mortgage  Bldg.,  Lcs  Angeles,  Calif.  State 
your  minimum  sale  price.  We  charge  ten  (10)  per 
cent  if  we  sell  your  story. 

MANUSCRIPTS  TYPED,  50c  PER  THOUSAND 
words.  Free  criticism  of  first  manuscript.  J.  Strieker, 
Mansfield,    Ohio. 

MANUSCRIPTS      TYPED,      REVISED.        REASON- 

able.  Haworth  Typing  Service,  5423  Locust,  Phila- 
delphia,   Pa. 

ENTERTAINMENTS 

338       SCREAMING       ACTS,       SKETCHES,      MONO- 

logues,  Parodies,  Recitations.  $2.  Complete  Minstrel 
Show,  $5.  E.  L.  Gamble,  Playwright,  East  Liverpool, 
Ohio. 

EDUCATION   AND    INSTRUCTION 

RADIANT  PERSONALITY',  ENERGY,  MOVIE 
Star.  Secret  mental  laws.  Graduate  Authors  Copyright, 
12  lessons  $4.00.  700  West  7th  St.,  Los  Angeles, 
Calif. 


AGENTS 


Sell  me  your  spare  time,  $1.25 
an  h<  ur,  light,  easy  work  near 
home.  Distribute  samples.  Tea,  ceffee,  extracts, 
spices,  s>  aps,  laundry  products,  19  full-sized  pack- 
ages and  c  mplete  outfit  furnished.  Write  quick 
for  free  sample  Dr.  Elliott's  Vegetable  Oil  Soap. 
Dept.  36,  HARLEY  CO.,  Dayton.  Ohio 


LEARN  PIANO 


This  Interesting   Free  Book 

shows  how  you  can  become  a  skilled 
player  of  piano  or  organ  at  quarter  usual 
c<»nt.  It  Bh-»ws  why  one  lesson  with  an 
expert  is  worth  a  dozen  other  lessons. 
Dr.  Quinn's  famous  Written  Method  In- 
cludes all  of  the  many  important  modern 
improvements  In  tsaching  music.  Brings  right  to  your  home  the 
(Treat  advantages  of  conservatory  study.  For  the  beginner  or  ex- 
perienced players.  Endorsed  by  great  artists.  Successful  gradu- 
ates everywhere.  Scientific  yeteasy  to  understand.  Fully  illustrated. 
All  music  free.  Diploma  granted.  Write  today  for  free  book. 
QU'NN  CONSERVATORY,  Sudlo  PH70.  698  Columbia  Road,  BOSTON,  25,  MASS. 


Wanted-RaiIwayMaiiaerks,$133to$192Month 


Men  — boys  18  up.  Travel — see  the  country.  Steady 
Common  eduction  sufficient.  WRItk  IMMEDIATELY 
for  free  list  of  II.  S.  C,  .vernment  positions  now  ontainal.le. 
FRANKLIN  I  NSTITUTE,  Dept.  B235.  ROCHESTER.  N.  Y. 


Sell  Madison  "Better-Made"  Shirts.  Paja- 
mas, and  Niehtshirts  direct  from  our 
factory  to  wearer.  Nationally  advertised. 
Easy  to  sell.  Exclusive  patterns.  Ex- 
ceptional valties.  No  experience  or 
eapital  required.  Larpe  steady  income 
assured.  Entirely  new  proposition. 
WRITE  FOR  FREE  SAMPLES. 
MADISON  SHIRT  CO..  603  B'way.N.Y.  City 


Los  Angeles,  Calif. 
Editor  Photoplay  Macazine. 

Dear  Sir:  Let  me  send  a  word  of  praise 
for  my  favorite  Charles  Ray.  He  stands  for  all 
that  is  good  and  clean  in  pictures.  He  is  an 
earnest  worker,  an  actor  true  to  his  ideals. 
Never  once  have  I  been  disappointed  in  him. 
It  is  such  a  relief  to  see  one  of  his  pictures  after 
having  endured  such  pictures  as  "Mad  Love," 
"Jazzmania,"  "Adam's  Rib"  and  countless 
others  of  that  type.  Charles  Ray's  "The  Girl 
I  Loved"  is  a  masterpiece  of  superb  acting.  I 
recently  had  the  pleasure  of  seeing  Mr.  Ray 
personally  and  hearing  him  talk.  My  former 
favorable  opinion  of  him  was  strengthened  a 
hundred  fold.  He  has  that  lovable  boyishness 
that  endears  him  to  all.  I  await  with  pleasure 
the  release  of  "The  Courtship  of  Milts 
Standish." 

Nora  Nelson. 

Is  Mary  Aloof? 

New  York  City. 

Editor  Photoplay  Magazine. 

Dear  S'r:  In  the  July  number  in  one  of 
your  articles,  surprise  was  expressed  because 
Mary  Pickford  was  not  named  among  the 
world's  most  famous  women. 

What  has  Mary  Pickford  ever  done  for  any 
one  other  than  herself  and  her  family? 
'  She  is  an  actress  off  the  screen  as  well  as  on, 
inasmuch  as  she  is  always  posing — with  an  air 
of  aloofness — trying  to  consider  herself  or  have 
other  people  consider  her  great.  The  effect 
is  ridiculous. 

Mrs.  Ramos  Jamerson. 

The  Conventional  Mould 

New  Haven,  Conn. 
Editor  Photoplay  Magazine. 

Dear  Sir:  I  went  to  see  "The  Gray  Dawn,'' 
Stewart  Edward  White's  story.  The  mo\  it- 
started  off  with  yards  and  yards  of  names  of 
the  people  who  rewrote  it,  directed  it,  titled 
it,  and  what  not.  What  do  the  public  care 
about  all  these  names?  Suppose  a  business 
letter,  one  of  those  that  do  the  business,  started 
off  with— 


Dictated  by 
Taken  down  by 
Typewritten  by 
Proofread  by 
Approved  by 
Signed  by 
Folded  by 
Sealed  by 
Mailed  by 


So  and  So 
So  and  So 
So  and  So 
So  and  So 
So  and  So 
So  and  So 
So  and  So 
So  and  So 
So  and  So 


Every  business  letter  goes  through  just  so 
much,  but  just  how  much  would  all  that  mean 
to  the  man  who  received  it?  Would  he  not  drop 
it  in  the  basket  without  even  reading  it? 

Then,  why  can't  they  "movie"  a  good  story 
at  least  somewhere  near  like  the  original?  The 
book  starts  off  with  its  hero  and  heroine 
already  married.  The  movie  has  the  heroine 
the  sister  of  one  of  the  other  principal  male 
characters;  also  has  this  fellow  have  a  mother, 
neither  of  which  conditions  exist  in  the  book 
and  serve  only  to  give  these  two  women  a 
chance  to  weep,  etc.,  instead  of  having  the 
hero  do  his  good  work  purely  from  his  sense  of 
right  and  justice,  and  not  for  the  sake  of 
winning  the  hand  of  the  fair  maiden.  Then,  to 
spoil  things  entirely  for  anyone  who  has  read 
and  admired  the  work  of  this  writer,  they  have 
thefadeout,  "Honeymoon  in  Venice,"  thesrmc 
as  countless  other  movies,  instead  of  the  original 
depicted  by  the  author,  who  has  the  hero  and 
heroine,  tired  out  after  the  big  scene,  yet 
reconciled  and  happy,  fall  asleep  in  their  car- 
riage locked  in  each  other's  arms,  with  the  old 
horse  taking  whatever  road  he  choo?es,  to 
awake  on  the  top  of  a  hill  facing  the  sea,  the 
"Gray  Dawn  of  a  better  era." 

Perhaps  this  putting  every  story  into  as 
nearly  the  same  conventional  mould  as  pos- 
sible is  the  reason  why  they  never  get  to  any- 
thing but  second  class  theaters. 

L.  Loveday. 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


Poor,  Overlooked  Bobby 

Pittsburgh,  Penna. 
Editor  Photoplay  Magazine. 

Dear  Sir :  Why  have  they  overlooked  Robert 
Agnew?  He  of  such  undeniable  talents.  They 
almost  made  a  villain  of  him  in  "Prodigal 
Daughters."  If  they  need  a  villain,  why  pick 
on  poor  Bobby?  Another  miserable  part  was 
given  him  in  "Kick  In."  Of  course,  those 
cute,  jazzy  parts  do  suit  him,  but  he  isn't  a 
villain,  he  is  a  wonderful  actor,  and  should  at 
least  play  opposite  leads. 

This  is  my  bouquet  for  Bobby,  and  may  it 
impress  his  director. 

Mabel  V.  Hunter. 

Mitigate  the  Maladies — 
By  All  Means 

New  York  City 
Editor  Photoplay  Magazine. 

Dear  Sir:  What  has  become  of  the  rea., 
human  actors  of  the  screen — men  like  Henry 
B.  Walthall  and  Frank  Keenan,  whose  vivid 
characterizations  stand  like  gleaming  lights  in 
the  vapid  atmosphere  of  screen  artificiality? 
By  their  stirring  portrayals  they  have  given 
much  to  the  motion  picture  world  that  has 
touched  the  finer  appreciations  of  the  public. 
Henry  B.  Walthall,  as  the  Little  Colonel  in 
"The  Birth  of  a  Nation,"  bequeathed  to  the 
screen  one  of  the  finest  characterizations  in  its 
history,  yet  today  he  seems  to  be  entirely  for- 
gotten by  the  producers,  so  blind  is  their 
frenzied  search  for  "perfect  lovers"Jand  the 
matinee  idol  type  of  actor. 

I  am  sure  that  at  least  a  large  percentage  of 
the  public  are  tiring  of  the  handsome  heroes  of 
the  modern  cinema.  The  starring  of  Henry  B. 
Walthall  and  the  few  other  really  great  actors 
of  the  screen  would  receive  a  warm  welcome, 
and  would  mitigate  in  no  small  way  the  present 
moving  picture  maladies. 

Emerson  Henke  Morrison. 

"As  to  Doug—" 

Pasadena,  Calif. 
Editor  Photoplay  Magazine. 

Dear  Sir:  I  have  to  answer  R.  L.  S.  A  slam 
like  he  or  she  made  against  Douglas  Fairbanks 
will  not  go  unheeded  by  me.  I  agree  with  R. 
L.  S.  as  to  Wallace  Beery's  good  acting — 
although  he  is  not  the  golden  haired,  noble 
Saxon  every  reader  of  history  and  legends 
believes  Richard  to  have  been.  But  as  to  Doug. 
If  he  were  to  take  to  vaudeville,  as  R.  L.  S. 
suggests,  then  I  would  become  a  vaudeville  fan 
— much  as  I  hate  it. 

Margaret  Elliot. 

Revolutionizing  the  Screen 

Ludlow,  Kentucky. 
Editor  Photoplay  Magazine. 

Dear  Sir:  A  hint  to  the  producers.  As  the 
screen  is  quite  flooded  with  costume  and  his- 
torical pictures,  why  not  have  more  with  the 
scenes  laid  in  our  own  country?  We  have  had 
"The  Three  Musketeers,"  France;  "Nero," 
Italy;  "When  Knighthood  Was  in  Flower," 
England;  "To  Have  and  To  Hold,"  England; 
Douglas  Fairbanks  in  "Robin  Hood,"  Eng- 
land; the  forthcoming  Talmadge  film,  "Purple 
Pride,"  France;  and  the  new  Barthelmess 
picture,  "The  Fighting  Blade,"  England. 

But  what  about  our  own  U.  S.  A.?  We  have 
had  only  "The  Birth  of  a  Nation"  and  "The 
Covered  Wagon."  We  have  seen  from  Grif- 
fith's "Orphans  of  the  Storm"  how  the  people 
of  France  won  their  independence  in  the 
French  Revolution,  one  of  the  greatest  things 
in  European  history.  What  is  more  important 
in  American  history  than  the  war  of  1776? 

Why  couldn't  some  first  class  producer  make 
a  picture  on  a  lavish  scale,  showing  how 
America  won  her  freedom,  with  Washington 
leading  his  mighty  army?  Surely,  if  this  were 
produced  in  the  proper  style,  it  would  be 
every  bit  as  great  as  "The  Birth  of  a  Nation,  " 
not  only  in  popularity,  but  in  box-office 
returns,  and  surely  another  step  toward 
greater  and  better  pictures. 

Eldrid  Fisher. 


17 


PREFERRED 
PICTURES 


enes  from 
THothers-in-Law" 


Uncounted  Millions  had 
Watched  a  Teakettle  Boil 

BUT  one  day  a  man  with  a  new 
point  of  view  watched — and 
steam  went  to  work  for  man. 
For  years  the  public  has  been  waiting 
for  leaders  with  a  new  point  of  view 
in  the  production  of  motion  pictures. 

Preferred  Pictures  is  an  organization 
made  up  of  men  who  believed  that 
finer,  more  entertaining  pictures  were 
possible.  They  took  a  new  point  of 
view.  They  held  to  the  belief  that  no 
matter  how  great  the  stars,  nor  how 
able  the  directors,  a  great  story  was 
the  necessary  foundation  for  a  great 
picture;  that  original  plots,  and  fresh 
ideas,  were  needed. 

You  received  their  first  eight  pictures  and 
proclaimed  them  a  success. 
And  no  wcomes"Mothers-in'Law,"  a  typical 
Preferred  Picture,  a  play  sounding  the  very 
depths  of  human  understanding. 
Gaston  Glass,  Ruth  Clifford  and  Josef  Swick- 
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Edith  Yorke,  not  a  mother-in-law  after  all,  but 
"only  a  mother  with  another  child  to  love," 
will  leave  you  with  a  suspicious  tightness  in 
your  throat.  You'll  have,  too,  a  firm  convic- 
tion that  mother-in-law,  as  well  as  dad  and 
mother,  should  have  her  day  on  the  calendar. 
Preferred  Pictures  are  directed  by  Tom  For- 
man,  Gasnier  and  Victor  L.  Schertzinger. 

Following4 'MotherS'in'Law'fthetwonextPreferredreleases  will 
be  "TheVirginian"  and  April  Showers."  They'll  he  shown 
in  your  city.   Call  up  your  favorite  theatre  and  ask"  When?" 


PICTURES 

'Produced  by 

B.P.SCHULBERG 

Coming 
"The  Broken  Wing" 

by  Paul  Dickey  and  Charles  W. 
Goddard 

"Mothers-in-Law" 

By  Frank  Dazey  and  Agnes  Chris- 
tine Johnston. 

"The  Virginian" 

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"April  Showers" 

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"The  Boomerang" 

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by  Edwin  Balmer. 

"The  First  Year" 

by  Frank  Craven. 

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by  Frederick  Orin  Bartlett. 

"Faint  Perfume" 

by  Zona  Gale. 

"My  Lady's  Lips" 

by  Olga  Printzlau. 

GNpw  Showing 

"Daughters  of  the  Rich" 
"The  Girl  Who  Came  Back" 
"Are  You  a  Failure?" 
"Poor  Men's  Wives" 

*  "The  Hero" 
"Thorns  and 

Orange  Blossoms" 

*  "Shadows" 
"Rich  Men's  Wives" 


PREFERRED 

AL  L1CHTMAN,  "President 


Distributed  by 

PICTURES    CORP* 

1  650  Broadway,  New  York 


When  you  wrltu  to  athertisers  please  mention  PHOTOPLAY  MAGAZINE. 


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Photoplay  Magazine — Advertising  Section 


How  I  Lost 
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French    Woman    Reveals    Secret   for 

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The  Inimitable  Star 

Seattle,  Wash. 
Editor  Photoplay  Magazine. 

Dear  Sir:  Anita  Stewart  is  my  favorite. 
She  is  a  rare  combination  of  beauty,  youth  and 
artistry,  with  a  background  of  brains,  individu- 
ality and  versatility.  She  is  indeed  an  exqui- 
site bit  of  femininity.  The  inimitable  star.  She 
has  more  imitators  than  any  other  actress,  but 
they  are  never  Anita.  Why  do  they  imitate 
her?  It  only  serves  to  make  them  artificial  and 
affected.  We  want  individuality  and  variety 
and  we  want  our  big  stars  in  big  plays. 

M.  Frances  Drees. 

A  Cruel  and  Heartless  Magazine 

New  York  City. 
Editor  Photoplay  Magazine. 

Dear  Sir:  Our  leading  luminaries,  says 
Photoplay,  seem  afraid  to  act — in  their  cur- 
rent vehicles  at  least.  Perhaps  they  all  had 
Spring  fever.  For  the  pictures  we  are  seeing 
now  are,  I  imagine,  films  that  were  made  in 
the  Spring,  tra-la!  Photoplay  is  right.  Pic- 
tures were  never  more  dull  or  uninteresting 
than  they  have  been1  for  the  past  month 
or  two.  It  is  enough  to  discourage  the 
most  optimistic  fan.  The  producers  are  saving 
their  best  bets  for  the  fall  season  and,  in  the 
meanwhile,  we  suffer. 

However,  Photoplay  is  most  cruel  and 
heartless  to  condemn  Norma  Talmadge,  the 
incomparable,  and  label  her  "afraid  to  act." 
Why  it  was  the  very  quietness  of  her  perform- 
ance in  "Within  the  Law"  that  was  praise- 
worthy. No  ranting,  no  wild  gestures,  no 
heaving  bosom,  nor  overflowing  emotion!  But 
then,  no  Norma  fan  like  myself  would  be 
capable  of  viewing  her  wrork  in  the  calm, 
impersonal  manner  of  the  hardened  critic. 
Madge  T.  Baum. 


Provineialism — or  Race 
Hysteria? 

New  York  City. 
Editor  Photoplay  Magazine. 

Dear  Sir:  The  very  bitter  letter  written  by 
A.  Lucille  Smith,  which  was  published  in  your 
June  issue,  has  roused  my  usually  placid 
nature. 

The  vindictives  she  hurls  at  the  "literary 
gentlemen  who  are  ready  to  make  war,  any 
place,  any  time"  would  be  tragic  if  they  were 
not  ridiculous.  She  tells  us  that,  as  a  club- 
woman and  social  worker,  she  should  know 
something  of  the  Japanese  people,  and  admits 
that  she  does,  but,  does  she  know  anything  of 
the  Japanese  question?  From  her  letter  I  infer 
that  she  doesn't,  and  would  strongly  advise 
her  that  to  throw  such  venom  at  the  picture, 
"The  Pride  of  Palomar,"  with  such  ignorance 
of  the  subject  that  it  involves,  is  bad  policy. 
Those  who  understand  and  are  interested  in 
the  present  situation  between  America  and 
Japan  will  be  amused  at  her  lack  of  knowledge. 

I  resent  her  saying:  "I  am  forced  to  con- 
clude that  the  author  is  either  an  ignorant 
bigot  or  is  one  of  those  pensters  who  are  willing 
to  hate  anybody — for  a  consideration."  Evi- 
dently she  has  not  read  the  book,  or  she  would 
have  known  that  the  author  is  not  an  ignorant 
bigot.  Quite  the  contrary.  He  is  not  only  well 
versed  on  the  subject,  but  has  taken  some 
trouble  to  become  acquainted  with  the  true 
facts.  She  should  know  that  no  one  in  his 
right  mind  would  write  to  such  lengths,  nor 
yet  discuss  such  a  thing  as  the  Japanese  situa- 
tion and  how  it  affects  America,  without  know- 
ing the  facts  beforehand. 

For  her  to  take  the  attitude  toward  the 
people  who  are  responsible  for  the  picture  is 
silly,  because  it  was  produced  as  a  story  and 
not  as  hate  propaganda  or  a  means  to  bring 
about  a  war,  as  she  would  have  us  think. 

Perhaps  she  will  retract  if  she  studies  up  a 
bit  more  thoroughly  on  the  subject.  Her  atti- 
tude is  decidedly  un-American  and  smacks  of 
provincialism. 

Hildred  Gude. 


Bouquets  from  Australia 

East  Melbourne,  Victoria. 
Editor  Photoplay  Magazine. 

Dear  Sir:  Of  course,  we  all  have  our  favor- 
ites, and  Miss  Talmadge  is  mine.  She  is  so 
sincere  and  hardworking  and  does  not  rely  on 
beautiful  clothes  and  spectacular  settings  to 
carry  her  through. 

Of  all  the  artistes  who  come  to  Melbourne, 
she  and  sister  Connie  are  among  the  most 
popular. 

And  others,  such  as  Lila  Lee,  Leatrice  Joy 
(who  resembles  Norma  Talmadge  very  much 
in  features  and  acting),  Wallace  Reid  (he  still 
lives  for  us),  Tom  Meighan,  Frank  Mayo  (who 
is  hero-worshipped  by  the  boys  here  as  well  as 
Rodolph  Valentino  is  by  the  girls) — they  one 
and  all  deserve  the  biggest  and  best  bouquets 
we  can  give  them. 

L.  Irene  Tebbs. 

The  Exotic  Personality 

Wollaston,  Mass. 
Editor  Photoplay  Magazine. 

Dear  Sir:  As  it  seems  the  thing  to  do  now. 
I  want  to  tell  you  a  few  of  my  likes — not  dis- 
likes. Thank  goodness,  I  have  more  of  the 
former! 

When  I  saw  "Poor  Men's  Wives"  the  other 
day  I  came  to  the  realization  that  Barbara  La 
Marr  is  an  actress,  not  an  animated  clothes 
horse  as  she  seemed  in  "Trifling  Women." 
She  does  not  need  wonderful  clothes  to  impress 
an  audience  by  her  beauty  and  acting  ability 
as  some  actresses  think  they  do.    I  like  her! 

I  also  like  Nita  Naldi.  I  admit  she  is  rather 
exotic  but  then  don't  we  go  to  the  movies  to 
see  things  that  are  different  than  what  we  see 
in  everyday  life?  And  I  am  sure  we  do  not 
very  often  come  upon  beauty  and  personality 
like  Nita's  in  our  workaday  life. 

Julia  Moncan. 

Loaded  with  Woolworth 

Bemidji,  Minn. 
Editor  Photoplay  Magazine. 

Dear  Sir:  Recently  I  wrote  and  asked  for 
pictures  of  a  few  actresses.  On  receiving  them 
I  was  mightily  disgusted.  Why?  All — except 
one — that  of  Leatrice  Joy — were  loaded 
down  with  Woolworth  jewelry.  Headdresses 
■ — pearls,  diamonds  and  various  other  gems 
prevailed.  I  cannot  understand  why  they 
send  out  pictures  of  themselves  attired  in  this 
fashion.  Besides  looking  very  cheap,  it  seems 
extremely  unnatural.  Leatrice  Joy  looked 
so  simple  and  charming  that  I  immediately 
fell  in  love  with  her.  Bebe  Daniels'  picture 
was  merciless.  Mae  Murray's  was  worse. 
Of  course,  I  haven't  anything  to  say,  but  I 
wish  thev  wouldn't. 

E.  L.  K. 

The  Makings  of  a  Star 

Trenton,  New  Jersey. 
Editor  Photoplay  Magazine. 

Dear  Sir:  I  am  a  very  jaded  and  hard  to 
suit  fan,  but  I  have  just  discovered  a  new 
player  in  the  pictures.  His  name  is  Van 
Matimore.  Here  is  a  young  man  with  the 
makings  of  a  star.  Please,  let  us  have  more 
of  him.  He  will  always  have'  my  earnest 
support.  His  part  of  the  beachcomber  in  the 
picture  "Vengeance  of  the  Deep"  will  always 
be  remembered  by  me.  Here  is  a  movie  out 
of  the  ordinary.  It  isn't  mushy  and  all  that 
stuff.  Although  Mr.  Matimore's  part  com- 
pelled him  to  look  uncouth  and  ill-kempt,  I 
would  prefer  to  see  him  any  day  than  Valen- 
tino. 

Let  the  public  have  more  pictures  like 
"Grandma's  Boy,"  "Sign  of  the  Rose," 
"Hungry  Hearts,"  etc.  Those  are  pictures 
I  really  and  truly  enjoyed.  And  I  want  to 
say  a  word  of  praise  for  Ralph  Lewis.  His 
acting  in  "The  Third  Alarm"  and  in  the  part 
of  Captain  Musgrovc  in  "Vengeance  of  the 
Deep"  is  something  really  fine. 

Fan  of  Photoplay. 


Every  advertisement  In  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


19 


r% 


PLAY  PIANO  BY  EAR 

Be  a  Jazz  Music  Master 


Anyone  Who  Can  Remember  a  Tune   Can  Easily  and  Quickly  Learn  to  Play 

Popular  Jazz  or  American   Rhythm   By  Ear   at  a  Very  Small  Cost.     The 

New    Niagara    Method    Makes    Piano    Playing    Wonderfully    Simple. 

No  matter  how  little  you  know  about  music — even  though  you  "have  never  touched  a  piano" — if  you  can 
just  remember  a  tune,  you  can  quickly  learn  to  play  by  ear.  I  have  perfected  an  entirely  new  and  simple 
system.  It  shows  you  so  many  little  tricks  that  it  just  comes  natural  to  pick  out  on  the  piano  any  piece  you 
can  hum.  Beginners  and  even  those  who  could  not  learn  by  the  old  fashioned  method,  grasp  the  Niagara  idea 
readily,  and  follow  through  the  entire  course  of  twenty  lessons  quickly.  Self-instruction — no  teacher  required. 
You  learn  many  new  styles  of  bass,  syncopation,  blues,  fill-ins,  breaks  and  trick  endings.  It's  all  so  easy — so 
interesting   that   you'll   be   amazed. 

A  Simple   Secret   to   Success 

No  need   to  devote  years  in  study  to  learn 
piano  nowadays.    Special  talent  unneces- 
sary.    Every  lesson  is  so  easy,  so  fas- 
cinating   that    you     just   "can't    keep 
your    hands  off    the   piano."     Give    it 
part  of  your  spare    time   for    90   days 
and  you  will  be  playing  and  entertaining 
almost  before  you  realize  it.     No  tiresome 
scales,  no    arpeggios  to  learn — no  do^re- 
— no  difficult   lessons  or   meaningless    exer 
cises.     You  learn  a  bass  accompaniment 
applies  to  the  songs  you    play.     Once    learned 
you  have    the  secret    for    all   time — your   difficul- 
ties are  over  and 

You  Become  Master  of  the  Piano 

Even  talented  musicians  are  amazed  at  the  rapid  prog- 
ress of  Niagara  School  students  and  can't  understand 
why  this  method  was  not  thought  of  years  ago.  Natu- 
rally, the  Niagara  Method  is  fully  protected  by  copy- 
rights and  cannot  be  offered  by  any  other  school.  A 
special  service  department  gives  each  pupil  individual 
attention. 


LearnM 

V     ;--vv  ■ . -.   . .  ..  - 


me  in 

Of>r 


Sgfe 


[e  Popular  in  Every  Crowd 

One  who  can  sit  down  at  any  time  without 
notes  ormusi'c,  reel  off  the  latest  jazz  and 
popular  song-hits  that  entertain  folks, 
is  always  the  center  of  attraction,  the 
life  of  the  party,  sought  after  and  in- 
vited everywhere.    Make  yourself   the 
center  of  attraction — master  the  piano 
by   spending   an   hour  -a   day   studying 
e  fascinating  Niagara  Method, 
easily   as    thousands    of    others    have 
d.  so  you.  too.  can  learn  and  profit — 
not    only    through    the    pleasure    it    provides, 
but    also    by    playing    at    dances,    motion    pic- 
ture houses  and  other  entertainments. 

Decide  to  Begin  Now! 

Just  spend  a  part  of  your  spare  time  with  a  few  easy, 
fascinating  lessons  and  see  how  quickly  you  "catch  on" 
and  learn  to  play.  You  will  be  amazed,  whether  you 
are  a  beginner  or  an  advanced  student. 

Write  for  interesting,  illustrated  booklet,  "The  Niagara 
Secret"— it  describes  this  wonderful  new  method  of  play- 
ing piano  by  ear.  This  booklet  sent  FREE.  Enclose 
6c.  in  stamps  and    you'll  receive  an  interesting  chart. 

Ronald  G.  Wright.  Director,  NIAGARA  SCHOOL  OF  MUSIC,  Niagara  Falls,  N.Y. 


CLIP  THIS   COUPON  NOW 


"LAV 


rgK*- 


ThisBoolO 
FREEi 


Niagara  School  of  Music.  Dept.  583,  Niagara  Falls,  N.Y.    'Without  obligation  mail  me  your  booklet, 
"The  Niagara  Secret."   I  enclose  6c.  in  stamps  for  chart  and  names  of  successful  students. 

Name 

St.  and  No.  or  R.  F.  D 

Town State 

Age Ever  take  piano  lesson*  ? How  many? 


Every  advertisement  In  FH0T0PLAY  MAGAZINE  ts  guaranteed. 


20 


Photoplay  Magazine — Advertising  Section 


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FRIENDLY 
ADVICE 

From 

Carolyn  Van  Wyck 


/"CORRECT  stationery  is  a  mirror  to  the  per- 
^-'sonality.  It  demonstrates,  very  forcibly, 
both  judgment  and  good  taste.  It  indicates 
the  girl  of  charm,  the  woman  of  refinement. 
Just  as  a  recognized  trade-mark  gives  prestige 
to  a  manufactured  article,  so  does  correct 
stationery  impart  a  certain  social  standing  to 
its  user. 

There  are  so  many,  and  such  exquisite  kinds 
of  stationery  nowadays.  Once  there  were 
only  one  or  two  accepted  sorts  of  letter  paper — 
but  now  the  range  is  large  enough  to  suit  any 
person,  however  critical.  There  are  slim, 
softly-tinted  correspondence  sheets  for  the 
young  girl  and  the  debutante;  chaste,  deckle- 
edged  papers  that  are  perhaps  more  appropri- 
ate to  the  matron.  The  society,  and  often  the 
professional,  woman  sometimes  uses  a  paper 
with  tissue-lined  envelopes.  And  for  the  older 
woman  nothing  is  more  charming  than  a  linen 
finished  paper  in  white,  or  in  silver  grey.  Satiny 
velour  finishes  are  always  good — for  anybody. 
And  so  it  goes! 

The  use  of  a  monogram,  of  course,  always 
adds  a  wee  breath  of  individuality — as  a  cer- 
tain, characteristic  perfume  or  a  fine,  initialed 
handkerchief  gives  a  pleasant  finishing  touch 
to  a  well-gowned  woman.  A  single  engraved 
line — the  address —  is  also  in  good  taste.  But 
it  is  never  either  smart,  or  pretty,  to  have  the 
engraving,  the  monogram,  in  any  way  showy  or 
flamboyant. 

Mourning  papers  even  have  their  styles. 
The  wider  black  band  is,  happily,  seldom  being 
used — even  when  the  mourning  is  new  and 
deep.  A  linen  or  velour  paper — edged  nar- 
rowly with  black — is  in  better  taste.  And 
a  lovely  innovation  is  a  border  of  soft  grey 
on  a  white  paper. 

Children  need  not  be  neglected  in  the  matter 
of  stationery — even  though  the  correspondence 
that  they  carry  on  is  small,  indeed.  Nursery 
rhyme  sheets  are  amusing.  And  quaint  little 
Greenaway  figures,  around  a  margin,  are  so 
pretty! 

Before  choosing  your  stationery  study  your 
type.  Consider  your  every  characteristic 
before  you  decide  upon  certain  colors  or  forms. 
Remember  that  your  letters  should  be  as 
carefully  and  becomingly  dressed  as  your  body. 

Clothes  are  often  the  world's  only  way  of 
judging  a  woman.  Stationery  is  the  clothing 
of  the  words  that  come  from  the  mind  and  the 
heart — and  that  are  written  down  for  the  world 
to  see.  The  intimate  friend,  the  casual  ac- 
quaintance, the  people  with  whom  you  have 


business  dealings,  will  be  quite  likely  to  judge 
you  by  the  paper  upon  which  your  letters  are 
inscribed.  Not  only  upon  its  quality  will  they 
judge  you — but  upon  its  suitability! 

M.  B.,  Toronto,  Canada. 

Superfluous  hair  and  enlarged  pores!  These 
two  troubles  are  enough  to  make  any  normal 
girl  unhappy.  But,  in  this  day  and  genera- 
tion, they  are  both  easy  troubles  to  be  rid  of. 

Electric  treatment  is  the  most  permanent 
way,  of  course,  to  remove  superfluous  hair. 
But  there  are  other  ways  that,  though  not  so 
lasting,  do  very  well.  An  addressed  envelope, 
sent  to  me,  will  bring  you  more  detailed 
information  about  the  depilatories  that  I 
consider  best.  Although,  if  you  care  to  scan 
the  advertising  pages  of  this  magazine  you  will 
find  some  splendid  brands  mentioned — and  all 
advertisements,  in  Photoplay,  carry  my 
endorsement. 

The  pores  of  your  skin  evidently  need  the 
healing  properties  of  a  good  astringent.  A 
weekly  application  of  a  worth-while  complexion 
clay  will  also  help  materially.  And  always  be 
sure,  unless  your  skin  is  extremely  oily,  to  use 
a  vanishing  cream  before  applying  powder. 

Red-Head,  Salina,  Kansas. 

I  have  seen  hair  that  was  called  "carroty" 
and  that  was  very  lovely.  Golden  red  hair  is 
unusual  and  beautiful,  I  think.  But,  if  you  are 
not  pleased  with  the  shade,  a  henna  shampoo 
every  two  weeks  and  an  occasional  henna  pack 
will  undoubtedly  darken  your  tresses.  Henna, 
despite  much  criticism,  is  not  harmful  to  the 
hair.  Indeed,  numerous  experts  say  that  it  is 
beneficial  to  the  hair !  And  so  you  may  use  it 
without  fear.  Do  not  overdo  this  henna  treat- 
ment, though — you  do  not  want  to  give  your 
hair  an  artificial  look. 

L.  C.  Mass. 

It  is  indeed  too  bad  that  you  were  vaccinated 
upon  the  arm,  so  long  ago.  Physicians  did 
not  realize,  some  years  past,  that  the  vogue 
for  short  sleeves  and  sleeveless  frocks  would 
show  their  handiwork  to  such  advantage! 
Liquid  powder,  applied  over  the  ugly  mark, 
will  hide  it — for  a  time.  But  the  best  liquid 
powder  is  apt  to  brush  off,  during  an  evening's 
dancing.  I  should  advise  that  you  wear  an 
arm  band,  always,  when  you  appear  in  a  sleeve- 
less gown.  This  band  may  be  a  gold  or  silver 
bracelet — a  wide  one — or  it  may  take  the  form 
of  a  ribbon  or  a  velvet  band,  in  a  shade  match- 
ing your  dress.     This  is  a  smart  style  for  eve- 


Let  Carolyn  Van  Wyck  be  your  confidante 
She  will  also  be  your  friend 

S^AROLYN  VAN  WYCK  is  a  society  matron,  well  known  in  New  York's  smartest 
y^,  and  most  exclusive  inner  circle.  She  is  still  young  enough  fully  to  appreciate  the 
problems  of  the  girl — she  is  experienced  enough  to  give  sound  advice  to  those  in  need  of 
it;  be  tney  flappers,  business  women,  or  wives  and  mothers.  She  invites  your  confidences 
— she  will  respect  them — on  any  subject.  Clothes,  charm  and  beauty,  love,  marriage, 
the  dreams  and  hopes  that  come  to  every  one,  the  heartbreaks  and  the  victories — who  has 
not  wished  to  talk  them  over  with  some  woman  who  would  be  tolerant  and  just,  sympa- 
thetic and  filled  with  human  understanding?     Here  is  the  opportunity  to  do  so. 

—The  Editor 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine- 


-Advertising  Section 


Then  Tvy  This  Deli 

Simple 


HANDS  ^ 


Thousands 
Are  Now 
Finding  It 
Easy  To  Have 
the  Slim, 
Trim  Figure 
Dictated  By 
Fashion  and 
Admired 
By  AU 


Science  Discloses  Method  of  Quickly 
Reducing  Excess  Weight— Many  Losing  a 
Pound  a  Day  Without  Starvation  Dieting 
or  Exercise— Greatly  Improves  Appear- 
ance.   Generous    Sample    Sent   FREE. 


ARE  you  fat?  You  shouldn't  be.  Without  rigor- 
j\  ous  dieting  or  exercise — by  a  simple  natural 
process — you  should  quickly  and  easily  be  able  to  have 
the  slender  fashionable  figure  that  is  so  attractive. 

Scientists  have  discovered  that  excess  fat  is  often 
caused  by  the  subnormal  action  of  a  small  gland. 
Once  this  gland  is  healthy  and  functioning  properly, 
your  weight  should  reduce  naturally  and  without  effort 
on  your  part,  to  the  normal  amount  for  your  height. 

And  science  has  discovered  a  simple  extract  which 
tends  to  regulate  the  gland  that  controls  fat.  With- 
out lifting  a  hand  in  unnecessary  and  violent  ex- 
ercise, you  should  find  it  a  delightfully  simple  matter 
to  have  the  ideal,  slender  figure  admired  by  everyone. 

The  wonderful  thing  about  the  scientific  formula 
known  as  Rid-O-Fat  is  that  in  losing  your  super- 
fluous fat  you  should  gain  added  vigor,  health  and 
energy  of  mind  and  body. 

Fed  Young— Look  Young 

There  is  nothing  which  adds  to  a  person's  age  so  much  as  fat. 
A  few  extra  pounds  makes  any  man  or  woman  look  from  five  to 
ten  years  older.  Not  only  that,  the  excess  weight  and  increased 
heart  action  saps  vitality  and  energy. 

Once  the  gland  which  controls  your  fat  is  functioning  properly 
your  food  should  be  turned  into  firm,  solid  flesh  and  muscle.  As 
your  weight  comes  down  to  normal  you  should  experience  a 
delightful  and  amazing  improvement  in  your  appearance.  You 
should  not  only  feel  and  look  younger — you  should  actually  be 
younger.  You  should  also  be  in  better  health — a  real  health  of 
energy — not  the  fictitious  and  deceiving  health  of  fat  that  insur- 
ance companies  say  shortens  the  life  ten  years. 

Complexion,  health  and  figure  are  improved  at  the  same  time. 
The  result  isnewvitality,  magnetism  and  personal  charm  that  makes 
for  success.     Tasks  once  hard  become  easy  and  life  worth  while. 

Every  advertisement  in  I'HOTOPI. 


QlllCk  Results — Rid-O-Fat,   the  scientific    compound. 

^.       _  .  comes  in  convenient  tablet  form,  and 

NO  CXerCfSe — is  practically  tasteless.    You  simply 

hl*%  C«<*».w.~«;_..  r\:~j.:~-c  ta'<e  one  at  eacr>  meal  and 
NO  Starvation  Dieting,  bedtime  Results  often 
surprising  in  their  rapidity. 

Within  a  few  days  you  should  be  conscious  of  a  new  feeling  of 
energy  and  lightness,  taking  the  place  of  that  tired,  worn-out 
feeling. 

Quickly  as  the  fat  gland  resumes  normal  functioning  you  should 
lose  weight  in  a  healthy,  normal  manner.  Many  fat,  ungainly 
figures  are  in  this  scientific  manner  helped  to  regain  their  normal 
and  idealistic  proportions,  giving  that  fashionable  slenderness 
and  athletic  poise. 

And^all  this  time  you  live  as  you  please. 

Nature  is  doing  the  work.  No  more  irksome  exercise — no 
more  denying  yourself  of  all  the  things  you  like.  Take  just  one 
small,  pleasant,  Rid-O-Fat  tablet  after  each  meal.  Could  any- 
thing be  more  simple? 

Rid-O-Fat  Used  by  100,000  People 

Since  the  announcement  of  the  wonderful  Rid-O-Fat  formula 
it  has  been  used  by  more  than  100,000  people.  Twenty  to  thirty 
thousand  more  people  are  writing  for  it  every  month.  The  fol- 
lowing letters  show  what  users  think  of  the  scientific  Rid-O-Fat 
system  of  fat  reduction : 

Lost  Forty-One  Pounds  in  Thirty  Days 

"When  I  wrote  for  your  Rid-O-Fat  sample  I  weighed  245 
pounds.  Today,  which  is  30  days  later,  I  weighed  only  204 
pounds.  A  reduction  of  41  pounds  in  a  month.  I  am  delighted 
Please  send  me  another  30-day  treatment,  as  I  want  to  reduce  to 
145  pounds,  which  is  the  correct  weight  for  my  height.  I  am 
sure  that  I  will  realize  my  ambition  with  Rid-O-Fat  and  I  feel 
better  than  I  have  in  years." 

Lost  Twenty  Pounds  In  Three  Weeks 

"According  to  weight  tables  I  weighed  exactly  20  pounds  too 
much.  Rid-O-Fat  reduced  me  to  normal  in  just  a  little  more  than 
three  weeks.  I  feel  better,  don't  get  tired,  and  my  friends  say 
I  look  like  a  new  person." 

Generous  Sample  FREE 

I  want  every  fat  person  to  have  a  chance  to  try  Rid-O-Fat  in 
their  own  homes  at  my  expense.  I  don't  want  them  to  take  my 
word  or  that  of  the  thousands  who  have  used  it.  I  want  them  to 
see  for  themselves  that  the  results  are  more  pleasing  than  any- 
thing I  can  say.  To  introduce  Rid-O-Fat  in  a  million  more 
homes  I  will  send  a  free  sample  to  anyone  who  will  write  for  it. 
In  fact  it  is  really  more  than  a  sample,  as  it  is  sufficient  to  reduce 
the  average  person  several  pounds.  I  will  also  send  with  the 
sample  an  interesting  booklet  that  explains  the  scientific  reason 
for  fat,  and  why  Rid-O-Fat  meets  with  the  highest  approval. 

*\  m  ii      xlm.  "      ~*  f      Don't'send  a  penny — I  will  send  the 

^Q§f£      IVOCnlflS  '      sample  and  the  booklet   undei   plain 
^^  wrapper   and    fully   postpaid.      This 

does  not  obligate  you  in  any" way  and  is  never  to  cost  you  a  cent.  It  is  simply  a 
limited  offer  I  am  making  to  more  generally  introduce  Rid-O-Fat. 

This  free  offer  is  good  for  only  a  short  time,  so  send  me  your  name  and  ad- 
dress on  the  coupon  below  or  a  postcard,  and  I  will  see  that  the  generous  sample 
and  booklet  are  mailed  immediately  under  plain  wrapper  postpaid.  Do  not  try 
to  get  Rid-O-Fat  at  drug  stores  as  it  is  distributed  only  direct  from  my  labor- 
atory to  you — remember  this  is  a  short  time  offer  and  send  your  name  at  once. 
H.  C.  HAIST,  Whinton  Laboratories,  1515  Coca  Cola  Bldg.,  Kansas  City.  Mo. 

H.  C.  HAIST,  Whinton  Laboratories, 
1515  Coca  Cola  Bldg.,  Kansas  City,  Mo. 

Without  obligation  in  any  way  and  with  the  understanding  it  is  not  to  cost 
me  a  cent  at  any  time,  please  send  me  your  generous  free  sample  of  Rid-O-Fat 
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22 


Photoplay  Magazine — Advertising  Section 


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ning  or  afternoon — whether  one  has  a  vaccina- 
tion to  hide,  or  not.  Often  it  adds  materially 
to  the  charm  and  originality  of  a  pretty  cos- 
tume. If  you  will  write  to  me  again,  telling 
me  the  color  of  your  eyes  and  hair,  I  will  be 
glad  to  let  you  know  which  shades  will  be 
most  becoming  to  you. 

Jeanne. 

Of  course  every  girl  wants  to  be  popular 
with  the  opposite  sex.  It  is  only  natural  for 
any  feminine  creature  to  crave  admiration.  I 
cannot  understand,  from  your  description  of 
yourself,  why  you  are  not  much  in  demand! 
You  say  you  dance,  swim,  and  play  tennis — 
all  well.  Perhaps  the  trouble  is  with  your 
personality.  Perhaps  you  are  embarrassed 
when  in  company;  perhaps  you  feel  that  you 
have  nothing  to  talk  about.  Shyness,  and 
lack  of  confidence,  keep  popularity  away  from 
many  pretty  and  attractive  women. 

Elise  K.,  Newark,  New  Jersey. 

I  do  agree  with  you  that  a  woman  is  often 
judged  by  her  perfume.  It  should  suit  the 
personality  of  the  wearer — a  detail  that  many 
women,  who  are  careful  in  obtaining  effects, 
have  a  habit  of  overlooking.  You  are  a  slim, 
willowyKblonde — you  tell  me — with  a  fair  skin, 
violet  blue  eyes  and  pale  golden  hair.  What 
then  could  be  more  suitable  than  a  fine  lilac 
toilet  water  and  talcum.  Not  too  strong — 
for  only  vivid  brunettes  should  wear  a  strong 
perfume. 

J.  E.  M.,  Philadelphia,  Pa. 

So  your  husband  cannot  agree  with  you  on 
the  clothes  question?  You  like  straight, 
tailored  frocks,  and  he  is  fond  of  ruffles.  And 
so,  every  time  you  buy  a  dress,  there  is  a 
family  quarrel.  Really,  my  dear,  don't  you 
think  that  you  are  being  a  bit  foolish  in  this 
matter?  Fluffy  things,  according  to  your 
own  admission,  are  not  unbecoming  to  you — it 
is  only  a  matter  of  personal  taste.  Then  why 
not  meet  your  husband  part  way,  by  having 
a  few  frilly  gowns  to  please  him.  After  all, 
he  pays  the  bills,  and  so  his  approval  should 
count  for  something!  Are  you  sure  you  are 
not  a  bit  stubborn?  It  will  not  cause  you  any 
acute  suffering  to  wear  the  laces  and  the  frills. 
And  it  will  give  him  a  real  pleasure.  So  why 
not  be  unselfish?  Be  glad  that  your  husband 
wants  you  to  have  plenty  of  pretties.  Many 
husbands  are  not  so  generous.  In  the  matter 
of  the  permanent  wave.  No,  I  do  not  con- 
sider such  a  wave  harmful,  if  you  have  the 
very  best.  Some  of  the  cheaper,  less  careful 
waves  permanently  injure,  rather  than  per- 
manently wave,  the  hair!  Nestle's  Lanoil 
wave  is  reliable,  always.  And,  of  course,  there 
are  other  satisfactory  methods. 

Ella  Jane,  Baltimore,  Md. 

Nowadays  a  woman  is  not  considered  an 
old  maid  at  thirty.  Years  ago,  perhaps,  but 
not  now.  The  modern  unmarried  woman  of 
that  age  may  be  very  smart,  very  youthful, 
very  popular.  She  must,  of  course,  pay  more 
attention  to  the  smaller  things  than  the 
debutante.  Facial  creams,  massage,  the  good 
line  of  a  gown,  the  becoming  hat.  The  hair, 
the  complexion,  the  trim  ankles — they  all  help 
to  convey  the  illusion  of  real  youth.  Do  not 
allow  yourself  to  be  pushed  back  upon  the 
shelf — your  life  is  only  just  begun,  if  you  will 
it  so.  And  you  must  will  it  so!  Tell  yourself 
that  you're  getting  "every  day  and  every  way 
— younger  and  younger."  And  with  the 
many  aids  to  beauty,  that  are  offered  on  every 
side,  practice  ivhal  you  preach! 

B.  E.  F.,  San  Francisco,  Cal. 

Bobbed  hair  is  not  nearly  so  smart  as  it  was. 
But  if  your  hair  seems  thin,  and  if  the  ends  are 
split,  I  think  that  you  will  be  very  wise  to  clip 
it.  Being  naturally  curly,  your  hair  will 
probably  be  very  becoming  when  worn  bobbed. 
Do  not  wear  it  straight  back  from  your  fore- 
head. For,  if  your  forehead  is  as  high  as  you 
say  it  is,  a  bang  will  be  much  prettier  and  quite 
as  smart. 


Every  advertisement  In  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


23 


Elinor  Glyn  Dares  to  Tell 
the  Truth  About  Marriage 

ELINOR  GLYN,  FAMOUS  AUTHOR  OF  "THREE  WEEKS,"  HAS 
WRITTEN  A  WONDERFUL  BOOK  THAT  SHOULD  BE  READ  BY  EVERY 
MAN  AND  WOMAN— MARRIED  OR  SINGLE.  "THE  PHILOSOPHY 
OF  LOVE"  IS  NOT  A  NOVEL— IT  IS  A  HELPFUL  SOLUTION  OF  THOSE 
PROBLEMS  OF  LOVE  AND  MARRIAGE  ABOUT  WHICH  MOST  OF 
US  KNOW  SO  LITTLE  AND  CONCERNING  WHICH  WE  SHOULD  BE 
SO  WELL  INFORMED.  READ  BELOW  HOW  YOU  CAN  GET  THIS 
THRILLING  BOOK  AT  OUR  RISK— WITHOUT  ADVANCING  A  PENNY. 


T\^ILL   you   marry   the   man   you 
love,  or  will  you  take  the  one 
you  can  get? 

If  a  husband  stops  loving  his  wife, 
or  becomes  infatuated  with  another 
woman,  who  is  to  blame — the  hus- 
band, the  wife,  or  the  "other 
woman?" 


Will  you  win  the  girl  you  want, 
or  will  Fate  select  your  Mate? 

Will  you  be  able  to  hold  the  love 
of  the  one  you  cherish — or  will  your 
marriage  end  in  divorce? 

Do  you  know  how  to  make  people 
like  you? 

TF  you  can  answer  the  above  ques- 
tions— if  you  know  all  there  is  to 
know  about  winning  a  woman's 
heart  or  holding  a  man's  affection — 
you  don't  need  "The  Philosophy  of 
Love."  But  if  you  are  in  doubt — if 
you  don't  know  just  how  to  handle 
your  husband,  or  please  your  wife, 
or  win  the  devotion  of  the  one  you 
care  for — then  you  must  get  this 
wonderful  book.  You  can't  afford 
to  take  chances  with  your  happiness. 


What  Every  Man  and 
Woman  Should  Know 


-how   to   win   the   man 

you  love, 
-how  to  win  the  girl  you 

want. 
-how  to  hold  your  hus- 
band's love, 
-how    to    make    people 

admire  you. 
-why  "petting  parties" 

destroy    the    capacity 

for  true  love. 
-why    many    marriages 

end   in   despair, 
-how  to  hold  a  woman's 

affection, 
-how  to  keep  a  husband 

home  nights, 
-things  that  turn  men 

against  you. 
-how  to  make  marriage 

a   perpetual    honey- 
moon, 
-the  "danger  year"  of 

married  life. 


— how  to  ignite  love — 
how  to  keep  it  flaming 
— how  to  rekindle  It  If 
burnt  out. 

— how  to  cope  with  the 
"hunting  instinct"  In 
men. 

— how  to  attract  people 
you  like. 

— why  some  men  and 
women  are  always  lov- 
able, regardless  of  age 

— are  there  any  real 
grounds  for  divorce? 

— how  to  increase  your 
desirability  In  a  man's 
eye. 

— how  to  tell  If  someone 
really  loves  you. 

— things  that  make  a 
woman  "cheap"  or 
"common." 


What  Do  YOU  Know 
About  Love? 

DO  you  know  how  to  win  the  one  you 
love?  Why  do  husbands  often  grow 
increasingly  indifferent  even  though  their 
wives  strive  tirelessly  to  please  them?  Why 
do  some  men  antagonize  wov3n,  finding 
themselves  beating  against  a  stone  wall  in 
affairs  of  love/  When  is  it  dangerous  to 
disregard  convention?  Do  you  know  how 
to  curb  a  headstrong  man,  or  are  you  the 
victim  of  men's  whims? 

Do  you  know  how  to  retain  a  man's 
affection  always?  How  to  attract  men? 
Do  you  know  the  things  that  most  irritate  a 
man?  Or  disgust  a  woman?  Can  you  tell 
when  a  man  really  loves  you — or  must  you 
take  his  word  for  it?  Do  you  know  what 
you  MUST  NOT  DO  unless  you  want  to 
be  a  "wall  flower"  or  an  "old  maid"?  Do 
you  know  the  little  things  that  make  women 
like  you?  Why  do  "wonderful  lovers" 
often  become  thoughtless  husbands  soon 
after  marriage — and  how  can  the  wife 
prevent  it?  Do  you  know  how  to  make 
marriage  a  perpetual  honeymoon? 

In  "The  Philosophy  of  Love,"  Elinor  Glyn 
courageously  solves  the  most  vital  problems 
of  love  and  marriage.  Her  book  will  thrill 
you  as  you  have  never  been  thrilled  before. 
It  may  also  upset  some  of  your  pet  notions 
about  love  and  marriage.     But  it  will  set 


you  right  about  these  precious  things  and 
you  will  be  bound  to  admit  that  Madame 
Glyn,  who  has  made  a  life  study  of  love, 
has  written  the  most  amazingly  truthful 
and  the  most  downright  helpful  volume 
ever  penned.  She  warns  you  gravely,  she 
suggests  wisely,  she  explains  fully. 

We  admit  that  the  book  is  decidedly  daring.  It  had 
to  be.  A  book  of  this  type,  to  be  of  real  value,  could 
not  mince  words.  Every  problem  had  to  be  faced 
with  utter  honesty,  deep  sincerity,  and  resolute  cour- 
age. But  while  Madame  Glyn  calls  a  spade  a  spade, 
while  she  deals  with  strong  emotions  in  her  frank, 
fearless  manner,  she  nevertheless  handles  her  subject 
so  tenderly  and  sacredly  that  the  book  can  safely 
be  read  by  any  man  or  woman. 

Certain  shallow-minded  persons  may  criticise 
"The  Philosophy  of  Love."  Anything  of  such  an 
unusual  character  generally  is.  But  Madame  Glyn 
is  content  to  rest  her  world-wide  reputation  on  this 
book — the  greatest  masterpiece  of  love  ever  attempted  1 

SEND  NO  MONEY 

YOU  need  not  advance  a  single  penny  for  "The 
Philosophy  of  Love."  Simply  fill  out  the  cou- 
pon below — or  write  a  letter — and  the  book  will  be 
sent  in  plain  wrapper  on  approval.  When  the  post- 
man delivers  the  book  to  your  door — when  it  is 
actually  in  your  hands — pay  him  only  $1.98,  plus 
a  few  pennies  postage,  and  the  book  is  yours.  Go 
over  it  to  your  heart's  content — read  it  from  cover 
to  cover — and  if  you  are  not  more  than  pleased, 
simply  send  the  book  back  in  good  condition  within 
five  days  and  your  money  will  be  refunded  instantly. 

Over  75,000,000  people  have  read  Elinor  Glyn's 
stories  or  have  seen  them  in  movies.  Her  books  sell 
like  magic.  "The  Philosophy  of  Love"  is  the  su- 
preme culmination  of  her  brilliant  career.  It  is  des- 
tined to  sell  in  huge  quantities.  Everybody  will 
talk  about  it  everywhere.  So  it  will  be  exceedingly 
difficult  to  keep  the  book  in  print.  It  is  possible 
that  the  present  edition  may  be  exhausted,  and  you 
may  be  compelled  to  wait  for  your  copy,  unless  you 
mail  the  coupon  below  AT  ONCE.  We  do  not  say 
this  to  hurry  you — it  is  the  truth. 

Get  your  pencil — fill  out  the  coupon  below.  Mail 
it  to  The  Authors'  Press,  Auburn,  N.  Y.,  before  it 
is  too  late.  Then  be  prepared  for  the  greatest  thrill 
of  your  life! 


The  Authors'  Press,  Dept.  181,  Auburn,  N.  Y. 

Please  send  me  on  approval  Elinor  Glyn's  master- 
piece, "The  Philosophy  of  Love."  When  the  post- 
man delivers  the  book  to  my  door,  I  will  pay  him 
only  SI. 98,  plus  a  few  pennies  postage.  It  is  under- 
stood, however,  that  this  is  not  to  be  considered  a 
purchase.  If  the  book  does  not  In  every  way  come 
up  to  expectations.  I  reserve  the  right  to  return  it 
any  time  within  five  days  after  it  is  received,  and 
you  agree  to  refund  my  money. 


De   Line  Leather  Edition — We  have  prepared  a   Limited 

Edi- 

tion     handsomely    bound    in    Royal    Blue    (Icnuine    Leather 

and 

lettered  in  Gold,  with  Gold   Tops   mid   Blue   Silk    Markers. 

No 

expense    spared— makes    a    gorgeous    gift.       If    ffou     I-r.f.r 
leather    edition — as    most    people    do — simply   sign   below, 
place  a  cross  in   the   little  soniirc  at  the  right,  and  pay  the 

postman  only  $2.98  phis  postage. 

1 

City  and  State 

IMPORTANT— If  you  reside  outside  the  TJ.  S.  A., 

payment  mum  be  made  in  advance     Regular  Edition 
$2.12.     Leather  Edition,  83.12.    Cash  with  coupon. 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


24 


Photoplay  Magazine— Advertising  Section 


DO  YOU  SEE  YOURSELF  AS  OTHERS  SEE  YOU? 


A  NEW  SCIENTIFIC,  PAINLESS  METHOD  OF 
CORRECTING     ILL-SHAPED 


A  perfect  lookii 
nose  can  easily 
be  yours  •  s  s 


TIME  ADVANCES  —  as  does  science  succeed  In 
perfecting  each  invention.  My  15  years  of  experi- 
ence in  manufacturing  and  selling  Nose  Sliapers  have 
proven  to  me  that  I  can  now  offer  to  the  unfortunate 
possessors  of  ill-shapen  noses  the  most  meritorious  Nose 
Adjuster  of  the  age.  My  latest  improved  Model  No.  25 
(U.  S.  and  many  foreign  patents)  has  so  many  superior 
qualities  that  it  surpasses  all  my  previous  shapers  and 
other  Nose  Adjusters  by  a  large  margin. 

In  the  first  place,  my  newest  appliance  is  better 
litting;  the  adjustments  are  such  that  it  will  fit  every 
nose  without  exception — my  apparatus  is  constructed 
of  light  weight  metal,  and  is  afforded  very  accurate 
regulation  by  means  of  six  hexagonal  screws,  which  are 
regulated  with  a  key  and  the  screws  are  then  locked  in 
the  desired  position.  These  screws  will  bring  about 
the  exact  pressure  for  correcting  the  various  nasal 
deformities — such  as:  long — pointed  nose — pug — hook 


NOSES   AT    HOME 

or  shrew  nose — and  turned  up  nose — and  will  give 
marked  success  in  modulating  the  distended  or  wide 
nostrils.  There  are  no  straps  to  be  pulled  in  order  to 
exert  pressure  on  the  nasal  organ. 

Model  No.  25  is  upholstered  inside  with  a  very  fine 
chamois  (covering  a  layer  of  thin  metal)  which  protects 
the  nose  from  direct  contact  with  the  apparatus;  this 
lining  of  metal  causes  an  even,  moderate  pressure  on 
the  parts  being  corrected,  thus  avoiding  a  harsh,  violent 
pressure  in  any  one  place. 

Model  No.  25  is  guaranteed,  and  corrects  now  alWl 
shaped  noses  without  operation,  quickly,  safely,  comfort- 
ably and  permanently.  It  Is  to  be  worn  at  night  and, 
therefore,  will  not  interfere  with  your  daily  work. 

//  you  wish  to  have  a  perfect  looking  nose,  write  today 
for  my  free  booklet  which  tells  you  how  to  correct  ill- 
shaped  noses  without  cost  if  not  satisfactory. 


M.  TRILETY,  Face  Specialist,  1940  Ackerman  Bldg.,  BINGHAMTON,  N.  Y. 


SLEEVELESS  GOWNS  AND 
SHEER  FABRICS 

and  present  craze  for  dancing  hai 
made  it  necesaary  to  remove  au- 
perflous  hairin  orderto  have  free- 
dom of  movement,  unhampered 
grace  and  modest  elegance. 

MODENE 

will  instantly  dissolve  and  re- 
move Hair  on  the  Face,  Neck, 
on  or  under  the  Arms  without 
the  slightest  injury  to  the  most 
delicate  skin.  For  thirty  years 
MOOENEhas  stood  the  test  and 
received  the  endorsement  of  thousands  of  people  of 
refinement.  MODENE  for  sale  by  all  Druggists  or 
by  mail,  postpaid,  $1.00.  Every  bottle  guaranteed. 
MODENE  MFG.  CO..       CINCINNATI,  O. 


"Don't  Shout" 


"I  hear  you.     1  can  hear 
now  as  well  as  anybody. 
'How'?   With  the  MORLEY 
PHONE.  I've  a  pair  in  my  ears 
now,  but  they  are  invisible.  I 
would  not  know  1  had  them  in  ( 
myself.only  that  I  hear  allright. 
The  MORLEY  PHONE  for  the 


DEAF 


is  to  the  eats  what  gl; 
are  to  the  eyes._    ln> 
visible,  comfortable,  weight-, 
less  and  harmless.     Anyone 
can  adjust  il.    Over  100.000  sold.     Write  for  booklet  and  testimonials 
THEMORLEYCO.,Dept.789.26S.15thSt.Phila. 


SAVE  YOUR  BODY 

Conserve  Your  Health  and  Efficiency  First 

"I  Would  Not  Part  With  It  lor  $10,000" 

So  writes  an  enthusiastic,  grateful  customer.     "Worth  more  than  a  farm," 
says  anothpr.     In  like  manner  testify  over  100,000  people  who  have  worn  it 

THE  NATURAL 
BODY  BRACE 

Overcomes  WEAKNESS  and  ORGANIC 
AILMENTS  of  WOMEN  and  MEN.  De- 
velops erect,  graceful  figure.  Brings  rest- 
ful relief,  comfort,  ability  to  do  things, 
health  and  strength. 


Wear  It  30  Days  Free 
At  Our  Expense 

Does  away  with  the  strain  and 
pain  of  standing  and  walking 
replaces  and  supports  mis- 
placed internal  organs;  re- 
duces enlarged  abdomen; 
straightens  undstrength- 
ens    the    back;  corrects 
stooping  shoulders;  de- 
velops lungs,  chest  and 
bust;  relieves  backache, 
curvnt  ures,  nervousness, 
ruptures,    constipation, 
after  eifects  of  Flu.  Com- 
fortable and  easy  to  wear. 

Keep  Yourself  Fit 

Write  today  for  illustrated  book- 
let, measurement  blank,  etc.,  and 
read  our  very  liberal  proposition. 


For 

Boys 

and 

Girls 

Also 


nAWADn    r    DilCII    Pres.    Natural    Body   Brace    Co. 
nUVVrlnll     L.  Krl3n    330  Rash  Bldg..  SALINA.  KANSAS 


Annette,  Bayonne,  N.  J. 

You  are  so  very  small — only  four  feet, 
eleven  inches  tall — that  your  weight,  if  you  are 
built  proportionately,  should  be  small,  too. 
Not  over  one  hundred  pounds,  I  should  say. 

The  depilatory  that  you  mention  is  quite 
harmless,  and  I  am  sure  that  you  will  find  it 
efficient  and  effective. 

Colors?  With  blond  hair  and  light  brown 
eyes — a  most  unusual  combination — you  can 
wear  almost  any  shade  that  you  desire.  Rang- 
ing from  dark  brown,  black  and  midnight  blue 
all  the  way  to  the  lovely  pastel  tints.  Red, 
blues,  greens,  grey,  periwinkle  and  orchid  will 
all  be  becoming  to  you. 

Mrs.  B.,  Denver,  Colo. 

I  agree  with  you  that  it  is  a  shame  to  have 
the  hair  turn  grey  when  one  is  in  the  early 
thirties.  Grey  hair  is  charming  often,  though, 
when  it  frames  a  fresh  and  youthful  face. 
However,  if  you  would  like  to  do  something  to 
remedy  the  matter  I  will  be  glad  to  give  you 
some  advice.  If  you  will  send  to  me  a  stamped, 
self-addressed  envelope  I  will  post  an  answer 
to  you  at  once. 

Cutte,  Nantucket,  Mass. 

It  is  too  bad  that  your  otherwise  fine  figure  is 
made  less  attractive  by  legs  that  are  not 
straight.  However,  the  long  skirts  that  every- 
one is  wearing  should  lessen  that  defect. 
Draped  gowns  would  be  becoming  to  you,  as 
they — above  any  other  style — show  to  advan- 
tage a  slender  waist  and  narrow  hips.  With 
greenish  brown  eyes  and  blond  hair  you  will  be 
charming  in  shades  of  brown,  grey,  violet  and 
blue.  Especially  periwinkle  and  French  blue. 
You  will  also  be  at  your  best  in  green — nile  and 
jade,  preferably.  And  shell  pink  will  accen- 
tuate the  combination  of  light  hair  and  dark 
eyes. 

M.  D.,  Chicago,  III. 

Your  height — for  five  feet,  nine  inches,  is 
far  above  the  average  woman's  height — is 
probably  to  a  large  extent  responsible  for  your 
self -consciousness.  This  self-consciousness  un- 
doubtedly makes  it  hard  for  you  to  carry  your- 
self well;  you  must  always  remember,  though, 
that  a  tall  woman  looks  her  best  when  she 
walks  with  her  head  up  and  her  shoulders  erect. 

The  fact  that  you  blush  easily  is  due,  in  part, 
to  embarrassment.  And  partly,  I  think,  to 
high  blood  pressure.  I  gather  this  last  because 
you  have  told  me  that  your  face  turns  deeply 
red,  almost  purple,  in  fact,  from  the  extreme 
heat  or  from  exercise  that  is  at  all  violent. 
This  should  be  corrected  through  diet — one 
consisting  mostly  of  vegetables,  with  little 
sugar  and  meat.  I  think  that  your  physician 
should  regulate  "your  diet;  he  knows  you  and 
your  physical  needs  better  than  I  do. 

Ruth,  Alberta,  Canada. 

Ungainly  flesh  about  the  ankles  may  be 
lessened  in  three  ways.  Through  exercise, 
massage  and  by  use  of  rubber  reducing  stock- 
ings. The  first  named  method  will  probably 
get  the  most  lasting  results — the  third,  the 
more  immediate  ones.  A  simple  exercise,  and 
one  that  is  easy  to  do,  is  that  old  standby  in 
which  one  rises  slowly  to  the  tips  of  the  toes — 
while  either  in  stocking  feet,  or  in  heelless 
slippers.  This  should  be  done  twenty-five 
timer  both  night  and  morning.  The  massage 
may  be  either  electrical,  or  the  hard  rubber 
variety.  And,  if  you  care  to  write  to  me  for 
further  information,  I  can  give  you  some  de- 
tails about  rubber  reducing  stockings. 

If  your  shoulders  are  broad,  a  slightly 
lowered  waistline  will  be  becoming  to  you — it 
will  make  you  seem  more  perfectly  propor- 
tioned. But  remember  that  broad  shoulders, 
and  the  athletic  types  of  figure  that  broad 
shoulders  stand  for,  are  very  smart  this  year. 

Mae,  Cement,  Okla. 

Some  really  good  curling  fluids  are  adver- 
tised in  Photoplay  Magazine.  I  am  ready 
and  glad  to  recommend  them,  for  they  are 
guaranteed. 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


25 


K.  E.  1).,  AXABAMA. 

You  tell  me  that  your  trousseau  is  nearly 
finished,  and  that  soon  the  invitations  to  your 
wedding  will  be  out.  And  that,  still,  you  are 
not  quite  sure  that  you  want  to  marry  the 
man  whose  betrothal  ring  you  are  wearing. 
The  situation  is  difficult — for  you  will,  if  you 
break  off  the  marriage  preparations  at  the  last 
moment,  force  a  climax  that  will  be  very  un- 
pleasant, not  to  say  heartbreaking,  to  all 
concerned.  I  would  never  urge  the  marriage 
of  a  woman  to  a  man  that  she  did  not  love  with 
her  whole  soul — no  matter  how  far  the  arrange- 
ments had  gone.  So,  if  you  are  not  sure;  if 
you  feel  really  definite  doubts,  don't  you  think 
it  would  be  better  to  put  a  stop  to  the  pro- 
ceedings before  it  is  any  later?  You  have  told 
me  that  the  winter,  past,  has  been  a  heavy  one 
for  you.  That  you  have  worked  very  hard  in 
order  to  leave  your  business  life  in  an  efficient 
way.  Maybe,  by  working  so  hard,  you  have 
unsteadied  your  nerves — maybe  your  doubts 
and  fears  are  only  fancied  ones,  bred  of  a 
weary  brain.  Think  carefully  before  you  take 
any  step,  at  all — either  toward  the  marriage 
altar,  or  away  from  it.  And,  if  you  care  to, 
take  your  fiance  into  your  confidence  and  talk 
over  matters,  very  frankly,  with  him.  If  he 
cannot  reassure  you,  nobody  can! 

C.  F.,  III. 

With  dark  brown  hair,  greenish  brown  eyes 
and  an  olive  skin  you  should  most  certainly  use 
face  powder  in  the  rachel  shade.  Rouge 
brunette,  and  a  very  dark  lip  stick  will  produce 
the  effect  that  will  be  most  flattering  to  you. 

You  are  not  tall,  and  you  are  rather  too 
heavy  for  your  height.  For  that  reason  I 
should  suggest  that  you  wear  simple  straight- 
line  frocks  in  dark  colors.  Made  without 
frills  or  panniers  or  ruffles.  You  should  never 
wear  very  large  hats — turbans  and  toques  will 
make  you  seem  both  taller  and  slimmer. 

C.  G.,  San  Francisco,  Cal. 

You  are  tall — so  many  tall  young  women 
are  writing  to  me,  these  days!  Indeed,  the 
petite  girl,  of  the  so-called  flapper  type,  must 
be  passing  rapidly!  And  your  features  are 
irregular,  and  your  neck  is  inclined  to  be  long, 
and  you  want  to  know  how  you  may  best 
arrange  your  hair — which  is  long  and  curly. 
I  think  that  a  simple  style  would  suit  you  best; 
elaborate  puffings  and  curls  and  bangs  will 
emphasize  your  features  and  height.  Let 
your  hair  wave  softly  and  naturally  back  from 
your  face,  and  do  it  low — very  low — in  your 
neck.  This  will  give  a  pretty  line  to  your 
head,  will  make  your  neck  seem  less  long,  and 
will  even  make  you  seem  materially  shorter. 

Do  not  wear  your  frocks  in  the  extremely 
long  fashion.  You  will  look  your  best  in 
dresses  that  are  conservative — in  length  as 
well  as  in  style. 

Use  an  astringent  cream,  nightly,  to  remedy 
the  large  pores  before  it  is  too  late.  And — 
not  too  much  face  powder,  please !  The  make 
that  you  mention  you  will  find  satisfactory — 
in  fact  any  brand  advertised  in  Photoplay 
should  please  you.  Use  the  shade  "rachel." 
Or,  if  your  skin  is  inclined  to  be  fair,  "natu- 
relle."  I  am  sure  that  you  will  find  the  new 
Pinaud  talcum,  perfumed  with  his  famous 
"Lilac  of  France,"  very  pleasant. 

"Judy,"  New  Mexico. 

Electric  massage  will  do  more  for  your 
muscle  bound  hips  than  anything  else  that  I 
know  about.     Exercise  will  also  help. 

With  dark  auburn  hair,  blue-grey  eyes  and 
a  fair  complexion  you  will  look  your  best  in 
shades  of  green,  violet  and  grey.  You  will 
also  be  charming  in  black,  dark  brown  and 
midnight  blue.  Almost  all  reds  will  be  trying 
colors  for  you  to  wear — pink  and  pale  blue 
will  not  be  your  best  colors,  either.  But  you 
should  look  well  in  yellow,  the  season's 
shade.  About  the  face  powder:  If  the  flesh 
tint  shows  against  your  skin,  and  if  white  also 
shows,  you  have  only  one  logical  choice  left. 
You  should  use  powder  in  the  shade  "na- 
turelle."  I  am  almost  sure  that  you  will  find 
it  satisfactory. 

When 


the  ENEMY  that  is  shortening  Your  life 


BY  DISSOLVING  THE  YEAST  CELLS  THAT  MAKE 
AN  ALCOHOL  DISTILLERY  OF  YOUR  STOMACH 

The  fat  in  your  body  is  caused 
by  a  simple  chemical  process. 
Yeast  cells   in   your   stomach 

combine   with   starch   and   sugar  and    form 

ALCOHOL.    When  alcohol  gets  in  the  blood, 

fatty  tissue  is  made  instead  of  healthy,  lean 

muscle.       Fat   people,  even  though   they  be 

TOTAL  ABSTAINERS   have   four   billion 
east   cells   (or  more)   in   their  stomachs — enough   to   make   4 
unces  of  alcohol  a  day.     Destroy  this  excess  of  yeast  cells  and 

you  immediately  destroy  Fat  at  its  source! 

NO  OIET-NOBATHS-NO  EXERCISE/ 


Dr.  R.  L.  Graham's  marvelous  pre- 
scription, known  as  NEUTROIDS, 
destroys  the  yeast  cells,  stops  alco- 
holization and  reduces  fat.  No  bother  or  in- 
convenience; can  be  carried  in  vest  pocket 
or  hand  bag.  Neutroids  are  composed  of 
harmless  ingredients  that  act  only  on  the 
yeast  cells  that  make  you  fat  and  not  directly 


on  the  body.  Neutroids  are  personally  guar- 
anteed by  R.  Lincoln  Graham,  M.  D.,  to  ac- 
complish satisfactory  reducing  results  and- 
furthermore,  they  are  guaranteed  to  contain 
no  thyroid  extract,  no  harmful  laxatives,  no 
dangerous,  habit-forming  drugs.  Don't 
bother  with  dieting,  baths  or  exercise  when 
Neutroids  will  accomplish  better  results 
with  no  inconvenience. 


SKETCH  VISUALIZES  MARVELOUS 
REDUCTION  IN  STOMACH  YEAST 
CELLS  AFTER  ONLY  ONE  TREATMENT 


tTDITir    PERSONAL   MAIL  CONSULTING 
rtVlVIL  SERVICE-by  Dr.  Graham's  Staff  a 

R.  Lincoln  Graham,  M.  D.,  discoverer  of  the  mar- 
velous prescription  known  as  Neutroids,  although  a 
practising  physician,  has  finally  been  prevailed  upon 
to  offer  his  priceless  remedy  to  the  public.  He  insists, 
however,  that  Neutroids  must  be  only  a  PART  of 
his  fat-reducing  service.  You  are  to  write  him  fully 
and  confidentially.  Dr.  Graham,  or  a  member  of  his 
staff  at  his  New  York  sanitarium  will  give  careful 
attention  to  your  inquiries  and  write  you  a  personal  letter  'o(  advice.  Anyone  ordering 
Neutroids  may  use  this  service. 

SEND  NO  MONEY— SEND  ONLY  THIS  COUPON 

Fill  in  and  mail  this  coupon  only,  to  my  sanitarium.  I  will  send  you  two  full  weeks'  treatment 
of  fat-reducing  Neutroids.  Pay  the  postman  only  $2  (a  small  portion  of  my  regular  consult- 
ing fee)  plus  15  cents  postage.  If  the  treatment  does  not  effect  a  satisfactory  reduction,  re- 
turn the  empty  box  and  I  will  refund  your  money.     (Signed)  R.  Lincoln  Graham,  M.  D. 

Dr.  R.  Lincoln  Graham,  care  of  The  Graham  Sanitarium,  Inc.,  123  E.  89th  St.,  Dept.  112, 
New  York  City: — Send  me  2  weeks'  treatment  of  Neutroids  which  entitles  me  to  free  profes- 
sional mail  consulting  service  and  free  booklet  on  Obesity.  I  will  pay  postman  $2  (plus  15c 
postage)  on  arrival  of  the  Neutroids  in  plain  package.  I  understand  my  money  will  be  re- 
funded if  I  do  not  get  a  satisfactory  reduction  from  this  2  weeks'  treatment. 


Name Age Sex. 

Address -Weight 


Kill  The  Hair  Root 


My  method  is  the  only  way  to  prevent  the  hair  from  grow- 
ing again.  Easy,  painless,  harmless.  No  sears.  Booklet  free. 
Write  today,  enclosing  3  stamps.  We  teach  beauty 
culture.    25  years  in  business. 

O.    J.     MAHLER. 
260-C  Mahler  Park,  Providence,  R.'l. 


ystemize 

Your  Mind 

,u     memory    ia     absolutely 

essential  to  success.     I  will  send 

you    Free    my    Copvriphted    Memory 

jid  Concentration  Test,  illustrated  book, 

„«-»  to  Remember  names,  faces,  studies— 

w         develop  Will,  Self-Confidence.      Write  today. 

ret,  Henry  Dickson,  Dept.  741 ,  Evanston,  III 


i^N" 


If  your  nose  is  ill-shaped,  you  can  make  It  perfect 
with  ANITA  Nose  Adjuster.  In  a  few  weeks,  in  the 
privacy  of  your  own  room  and  without  interfering'  with 
your  daily  occupation,  you  can  remedy  your  nasal 
irregularity.     No  need  for  costly,  painful  operations. 


AFTER 


Ssni"  fllHTfl-  '""JST"  -NOSE  ADJUSTER 

shapes  while  you  sleep— quickly,  painlessly,  permanently  and  inexpensively.  The  ANITA  NOSE 
ADJUSTER  is  the  ORIGINAL  nasal  supporter  highly  recommended  by  physicians  for  fractured  and 
misshapen  noses.  Self-ftdlustahlc.  No  screws.  No  metal  parts.  Gentle,  firm  and  perfectly  comfortable. 
Winner  of  Gold  Medal— Highest  in  Merit.     Lowest  in  Price.    Beware  of  imitations!    Writ*  today  (just  your  nam. 

and  address)  for  Ire*  book  "Happy  Days  Ahead, "  and  our  blank  to  fill  out  for  sizes.      Your  nme  idluster  Call  be  paid  for  whin  It  reaches  »ou. 

The  ANITA  Company,  Dept.  1028,  ANITA  Bldfi.,  Newark,  N.  J. 


you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


26 


Photoplay  Magazine — Advertising  Section 


Is  your  skin  oily — 
your  nose  shiny? 

ybu  can  overcome  this  condition 
by  the  right  treatment 

A  certain  invisible  amount  of  oil  in  your  skin 
is  necessary  to  keep  it  soft  and  supple.  But  too 
much  oil  not  only  spoils  the  appearance  of  your 
skin;  it  very  much  increases  the  danger  of  infec- 
tion from  dust  and  dirt. 

Don't  let  your  skin  get  the  habit  of  always  be- 
ing shiny  with  too  much  oil.  Use  this  treat- 
ment once  or  twice  a  day,  and  see  how  helpful 
it  will  prove  in  keeping  your  skin  in  just  the 
right  condition: — 


/ 


fPlTH  warm  water  work  up  a  lather  of  Woodbury's 
Facial  Soap  in  your  hands.  Apply  it  to  your  face  and 
rub  thoroughly  into  the  pores  .  .  .  .  "  The  rest  of  this 
treatment  is  given  in  the  first  column  below. 


C^LEANSE  your  skin  by  washing  in  your  usual  way 
with  Woodbury's  Facial  Soap  and  lukewarm  water. 
Wipe  off  the  surplus  moisture,  but  leave  the  skin 
slightly  damp.  Now  with  warm  water  work  up  a 
heavy  lather  of  Woodbury's  Facial  Soap  in  your 
hands.  Apply  it  to  your  face  and  rub  it  thoroughly 
into  the  pores  with  your  finger  tips  always  with  an 
upward  and  outward  motion.  Rinse  with  warm  water, 
then  with  cold — the  colder  the  better.  If  possible  rub 
your  face  for  thirty  seconds  with  a  piece  of  ice. 

This  treatment  will  give  your  skin  a  firmer, 
fresher  look  the  first  time  you  use  it.  Follow  it 
persistently  and  see  what  a  wonderful  improve- 
ment it  will  make  in  your  appearance. 

The  right  treatment  for  your  type  of  skin 

No  matter  what  kind  of  skin  you  have — you 
will  find  the  treatment  that  especially  meets  its 
needs  in  the  booklet,  "A  Skin  You  Love  to 
Touch,  "  which  is  wrapped  around  every  cake  of 
Woodbury's  Facial  Soap. 

Special  treatments  for  each  different  type  of 
skin  are  given  in  this  booklet.  By  following 
these   treatments   thousands    of  women    have 


overcome  the  faults  in  their  complexion  and 
built  up  a  fresh,  clear,  lovely  skin. 

Get  a  cake  of  Woodbury's  today,  and 
begin  tonight  the  right  treatment  for  jw/rskin. 
A  25  cent  cake  of  Woodbury's  Facial  Soap 
lasts  a  month  or  six  weeks.  Woodbury's 
also  comes  in  convenient  3-cake  boxes. 

Three  famous  Woodbury  skin  preparations 
— guest  size — for  10  cents 

The  Andrew  Jergens  Co. 

510  Spring  Grove  Ave.,  Cincinnati,  Ohio 

For  the  enclosed  10  cents — Please  send  me  a  miniature  set  of  the 
Woodbury  skin  preparations,  containing, 

A  trial  size  cake  of  Woodbury's  Facial  Soap 
A  sample  tube  of  Woodbury's  Facial  Cream 
A  sample  box  of  Woodbury's  Facial  Powder 
Together  with  the  treatment  booklet,    "A  Skin  You 
Love  to  Touch." 

Ifyou  live  in  Canada,  address  The  Andrew  Jergens 
Co.,  Limited,  510  Sherbrooke  St.,  Perth,  Ontario. 
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Apeda 


New 
Pictures 


PJLAIRE 
Kansas, 


WINDSOR  comes  from 
but  one  can  picture  her 
walking,  long  ago,  through  the  fragrant 
gardens  of  Versailles.  The  most  beauti- 
ful woman  on  the  screen,  many  aver,  and 
the  mother  of  filmdom's  handsomest  boy 


Hc»s«r 


TVTARY  ASTOR,  who  is  still  "standing  with  reluctant  feet,  where  the  brook 

and. river  meet."     Though  very  young,  she  has  played  opposite  Glenn 

Hunter,  Harry  Morey  and  Dick  Barthelmess.     She  was  a  beauty  contest  winner 


Hewer 


"PVERY  other  day  there's  a  report  that  Theda  Bara  is  about  to  return  to  the 

screen.  And  then  folk  sigh,  reminiscently,  and  remember  the  days  when  a 

vampire  was  a  vampire,  and  Theda  worked  under  the  William  Fox  banner 


Richee 


A  PENSIVE  picture  of  Gloria  Swanson.    This  young  lady,  who  is  now  taking 

the  east  by  storm,  is  having  her  first  real  chance  as  an  emotional  actress  in 

Allan   Dwan's   production   of   "Zaza,"   and   much   is   expected    of   her 


Evans 


T  RENE  RICH,  known  as  the  sweetest  and  most  womanly  of  all  leading  ladies, 
X  is  cast  as  the  Queen  of  Spain  in  Mary  Pickford's  forthcoming  picture,  "Ro- 
sita."     Notice  the  quaint  antique  earrings  she  wears,  and  the  fan  of  thread  lace 


Seely 


JACKIE  SAUNDERS,  of  Biograph  fame,  has  staged  a  come-back.     Her  one- 

sided  smile  and  her  impish  blue  eyes — together  with  a  whole  trunkful  of 

lovely  new  frocks — will  decorate  Film    Booking's  latest   special,  "Alimony" 


Keyes 


pOLO  player,  scholar,  able  actor  and  gentleman. 

Jack  Holt  is  one  of  Paramount's  surest  bets — 

and  a  real  candidate  for  stardom.     His  chin  gives 

him  a  hold  over  every  weak  woman  in  the  audience 


T? RANK  MAYO,  chosen  to  create  the  most  im- 

portant  part  in  Elinor  Glyn's  "Six  Days,"  is 

a  personable  six-footer.     They  say  that  he's  to 

Australia  what  Valentino  is  to  this  country 


A  LTHOUGH  he  made  his  film  debut  as  Mary 

Pickford's  leading  man,  in  "The  Love  Light," 

Eddie  Phillips  is  now  doing  tough  little  celluloid 

gangsters.     And  being  well  liked,  in  spite  of  it! 


PDMUND    LOWE   as   Don   Juan   in   his   first 

Goldwyn  picture  "In  the  Palace  of  the  King." 

He  comes  to  the  screen  from  Belasco's  training 

school,  where  he  played  opposite  Leonore  Ulrich 


Safety  for  Silks 
oAssured  by  this  soap  test 


Wc  believe  most  women  real- 
ize how  convenient  if  is  to  be 
able  to  wash,  in  their  own 
homes,  such  delicate  things 
as  silk  blouses  and  dresses, 
and    fluffy    woolen    sweaters. 

But  if  you  have  had  any 
misfortunes  with  such  pre- 
cious garments,  or  if  you  still 
lack  confidence  in  this  method 
of  cleaning  them,  let  us  sug- 
gest a  simple  test  t}y  which 
you  can  assure  yourself  before- 
hand of  the  safety  of  the  soap. 

Here  is  the  test: 

Ask  yourself: 

"Would  I  be  willing  to  use 
the  soap  on  my  face?" 
You  will  probably  be  sur- 
prised at  the  ease  with  which, 
by  the  help  of  this  single  ques- 
tion, you  can  now  select  a  soap 
of  whose  safety  you  are  certain. 

Among  all  the  soaps  in  any 
form  to  which  you  apply  this 


test.  Ivory  Flakes  is  one  of  the 
few  that  will  win  your  instant 
confidence. 

This  is  not  strange,  because 
Ivory  Flakes  is  simply  Ivory 
Soap  in  flake  form  the  very 
same  Ivory  with  which  careful 
women  have  for  generations 
gently  cleansed  and  protected 
their  sensitive  skin  and  which 
mothers  use  for  their  babies' 
bath. 

Safe  as  pure  water 

When  you  dip  a  delicate  silk 
or  woolen  garment  into  the 
pure,  foamy  Ivor)'  Flakes  suds, 
you  can  be  sure  that  not  even 
pure  water  alone  could  be 
safer  for  it. 

We  know,  of  course,  that  it 
sometimes  requires  a  good  deal  of 
courage  to  wash  a  particularly  pre- 
cious garment,  especially  if  it  is  the 
first  of  its  kind  you  have  ever 
handled.  For  this  reason,  we  have 
tested  nearly  every  conceivable 
kind  of  fabric  with  Ivory  Flakes 

Was*' 


and  will  gladly  answer  agy  ques- 
tions tor  you. 

The  directions  on  the  Ivory 
Flakes  box  are  sufficiently  com- 
plete for  nearly  any  kind  of  gar- 
ment, but  you  should  also  have 
our  booklet,  "The  Care  of  Lovely 
Garments,"  which  is  a  veritable 
encyclopaedia  of  information  on 
the  subject.  It  includes  complete 
directions  for  ironing,  as  well  as 
for  washing.    And  it  is  free. 

If  you  will  write  to  us  as  sug- 
gested in  the  lower  right-hand 
corner  of  this  page,  we  shall  be 
glad  to  send  you  both  this  booklet 
and  a  sample  package  of  Ivory 
Flakes,  without  charge. 

NOTE:  In  addition  to  having  a 
real  margin  of  safety  beyond  other 
soaps  for  delicate  garments.  Ivory 
Flakes  is  economical  enough  for 
use  in  washing  the  heavier  articles, 
such  as  linens,  blankets  and  dra- 
peries, which  need  the  protection 
of  a  pure  soap. 

Full size packages  of  Ivory  Flakes 
are  for  sale  in  groceries  and  de- 
partment stores  everywhere. 

PROCTER  &  GAMBLE 


Did  you  ever 

wash 
a  lampshade? 

Twice  each  year  for  five 
years  the  crepe  de  chine 
and  chiffon  lampshade, 
shown  in  ihe  picture, 
was  washed  with  Ivory 
Flakes.  It  was  merely 
rinsed  in  the  suds,  for  of 
course  so  delicate  an  ar- 
ticlccould  not  be  rubbed. 
Yet  it  was  cleaned  per- 
fectly -  and  w/f/y —  re- 
taining its  original  color 
and  fresh  appearance 
through  all  ten  wash- 
ings. 

This  lampshade  and 
owner's  letters  on  file  in 
the  PrtKter  «c  Gamble 
office. 


Figured  Georgette — 
Five  times  safe! 

"Everyone,  even   Mother,   said 

my  georgette  dress  was  much  too 

delicate   to   be  washed   safely," 

writes  the  owner  of  this  charming 

j  dress,  "but  I  rinsed  it  in   Ivory 

Flakes  suds  and  it  came  out  beau- 

|  tifully.     I  washed  it  four  times 

;  after  that   and   it  was   perfectly 

I  cleaned  every  time.     Even  after 

the  last  washing  the  dress  looked 

as  fresh  as  though  it  were  new." 

|  Dress  and  owner's  letter  on  file 
in  the  Procter  &  Gamble  office. 


FREE- 

This  package  and  booklet 

A  sample  package  of  Ivory 
Flakes  and  the  beautifully  illus- 
trated booklet.  "The  Care  of 
Lovely  Garments,"  will  be  sent 
to  you  without  charge  on  ap- 

B I  nation  to  Section  4Wr, 
»ept.  of  Home  Economics. 
The  Procter  &  Gamble  Co., 
Cincinnati,  O. 


JopyrfeM  \ta,  by  Hm  ProrUr  4  flamblr  Co..  Cincinnati 


Volume  XXIV 


The  TSlational  Quide  to  Pictures 


Number  Five 


(TRADE  HARK; 


PHOTOPLAY 


October,  1923 


Speaking  of  Pictures 


By  James  R.  Quirk 


"HpHERE  is  no  question  of  Norma's  position  on  the  screen. 

i-  In  all  mv  life  I  have  never  met  a  person  with  so  little 
ego." 

That  is  what  Adela  Rogers  St.  Johns  said  in  the  August  issue 
of  Photoplay  about  Norma  Talmadge. 

When  you  see  "  Ashes  of  Vengeance,"  as  you  should,  you  will 
note  an  almost  unprecedented  action  on  the  part  of  a  great  star, 
absolute  proof  of  the  beautiful  lady's  lack  of  egotism  and  pos- 
session of  brains.  Did  she  hog  every  close-up?  She  did  not. 
Was  she  concerned  because  her  leading  man,  Conway  Tearle, 
had  more  footage?  She  was  not.  Although  she  had  everything 
to  say  about  the  picture,  she  permitted  Frank  Lloyd,  the  di- 
rector, to  tell  the  story  in  his  own  manner  without  interference 
or  insistence  that  her  part  be  enlarged  to  the  detriment  of  the 
story.    Oh,  that  we  had  a  few  more  Normas  on  the  screen! 

AND  right  at  this  point  I  rise  and  ask  why  Hope  Hampton 
should  be  featured  as  the  headliner  in  "Lawful  Larceny"? 
Is  she  a  greater  star  than  Nita  Naldi  or  Lew  Cody,  who  are 
given  second  and  third  places?  She  is  not.  But  we  understand 
that  Famous  Players  wanted  the  play  and  Miss  Hampton's 
manager  held  the  rights  to  it.  And  Famous  had  to  pay  the 
price. 

EXHIBITORS  and  producers  are  just  about  as  wise  as  any- 
body else  in  sensing  what  the  public  wants.  And  no  wiser. 
There  are  no  experts  on  public  whims.  Two  years  ago  the 
Exhibitors  said  their  patrons  did  not  want  "costume"  pictures. 
Then  came  "Passion."  The  flood  tide  is  now  on.  "The 
Covered  Wagon"  is  still  playing  to  capacity  houses.  "Little 
Old  New  York,"  Marion  Davies'  greatest  picture,  and  "Ashes 
of  Vengeance,"  Norma's  splendid  celluloid  reproduction  of 
French  court  life  in  the  sixteenth  century,  opened  auspiciously. 
And  coming  along  are  "Scaramouche"  (Rex  Ingram),  "The 
Hunchback  of  Notre  Dame"  (Universal),  "The  Green  God- 
dess" (Distinctive  Pictures),  "Mona  Vanna"  (Fox),  "Long 
Live  the  King"  (Jackie  Coogan),  "In  the  Palace  of  the  King" 
[Goldwyn),  and  others. 

After  all,  it  isn't  a  question  of  costumes.  It's  a  question  of 
story  and  picture  quality. 

TAKE  "Hollywood"  for  instance.  The  original  was  written 
by  Frank  Condon  for  Photoplay,  a  year  ago.  Famous 
Players-Lasky  decided  to  make  a  picture  of  it.  About  the  same 
time  "Souls  for  Sale"  was  started  in  work  for  Goldwyn.  The 
competition  between  the  two  companies  is  keen,  and  the  Gold- 
wyn company  saw  a  chance  to  beat  Famous  Players  to  it  by  in- 
jecting a  score  or  more  of  picture  celebrities  into  it  regardless  of 
the  original  story.  It  made  a  box  office  hit  in  spite  of  the  fact 
that  the  plot  had  to  break  and  enter  the  picture  through  a  win- 
dow in  the  fourth  reel.    Trailing  it,  and  attempting  to  collect  on 


the  same  interest,  "  Mary  of  the  Movies"  made  its  bow  and  was 
received  with  slight  applause.  Then  came  the  original  inspira- 
tion of  both,  "Hollywood,"  and  proved  that  the  others  were 
merely  sincere  flattery. 

MANY  of  our  screen  celebrities  after  a  few  years  in  Holly- 
wood, become  infected  with  Californitis  and  surpass  the 
Native  Sons  in  their  enthusiasm  over  the  wonderful  climate,  the 
glorious  scenery,  the  snow-capped  mountains,  the  paved  roads, 
the  sunny  beaches,  the  cool  evenings,  and  the  almost  miraculous 
healthfulness  of  their  state.  Maybe  it  is  because  I  am  an 
Easterner  that  I  think  that  humans  can  still  exist  in  compara- 
tive health  and  happiness  in  a  few  other  states. 

One  of  our  screen  luminaries  recently  returned  from  that 
earthly  paradise.  She  went  into  transports  of  ecstasy  as  she 
•raved,  and  ranted,  and  acted.  I  listened  as  long  as  I  could. 
I  had  to  stop  her. 

"How  old  are  you?"  I  asked. 

"Twenty-five,"  she  answered  without  moving  a  wrinkle. 

"I'm  convinced,"  I  said.  "California  is  all  you  said.  It's 
a  grand  climate." 

She  was  thirty-five  when  she  went  west  six  months  ago. 

ANEW  YORK  court  has  restrained  Pyramid  Pictures,  Inc., 
and  A.  N.  Smallwood,  its  promoter,  from  disposing  of 
$2,000,000  worth  of  bonds,  or  rather  that  amount  of  bonds,  to 
the  public.  Smallwood  admitted  that  he  bought  stock  at  $2.50 
from  the  company  and  resold  it  to  the  public  at  $7.50.  He 
bought  bonds  with  a  face  value  of  $100  at  $66.66.  The  bonds 
were  secured  by  about  $25,000  of  equipment  and  $38,000  in 
accounts  receivable.  Then  there  was  also  listed  a  claim  against 
a  distributing  company  Smallwood  organized,  and  which  he 
admitted  couldn't  pay  any  part  of  it. 

Photoplay  wishes  to  reiterate  what  it  has  said  again  and 
again.  The  public  has  never  gotten  its  money  back,  not  to  speak 
of  dividends,  from  any  motion  picture  company  promoted  by 
sale  of  stock  to  the  public.    This  is  "definite. 

CARMEL  MYERS  is  being  hailed  in  studio  circles  as  the 
new  siren  extraordinaire,  the  reason  being  her  work  in  "The 
Magic  Skin." 

The  other  day  while  lunching  in  a  studio  cafeteria,  Miss 
Myers  was  approached  by  a  visitor  with  a  request  for  a  photo- 
graph. 

"I've  always  admired  you  from  the  first  time  I  saw  you, 
said  the  lady.    "You  are  the  most  beautiful  girl  on  the  screen. 
I  go  to  see  all  your  pictures.    If  I  could  only  have  one  of  your 
autographed  photographs  to  take  home  with  me  I  would  be  so 
happy." 


[  CONTINUED  ON  PAGE  I3O  ] 


ftR 


The  Most  Engaged  Girl 


in  the  World 


Tells    the    Kind    of   Man 
She  Would    Like    to    Marry 


CONSTANCE  TAL- 
MADGE  has  been 
reported  engaged 
more  times  than 
anybody  except  the  prince 
of  Wales. 

Maybe  "Connie"  isn't 
rated  as  a  vamp,  but  in- 
vestigation shows  that  she 
has  done  more  serious  heart- 
damage  than  all  the  rest  of 
our  screen  stars  put  to- 
gether. 

Every  man  who  gets  a 
crush  on  the  beautiful 
youngest  Talmadge  wants 
to  marry  her. 

Ever  since  she  and  Rich- 
ard Barthelmess  were  se- 
cretly engaged  at  sixteen, 
it's  been  a  bad  day  for  the 
newspapers  when  somebody 
of  importance  hasn't  been 
trying  to  marry  Constance 
Talmadge. 

Since  her  divorce  a  few 
months  ago  from  the  rich 
young  Greek,  John  Pialo- 
glou,  Connie  has  been  re- 
ported engaged  five  times. 
First  to  Irving  Berlin, 
premier  song  writer  of  the 
day.  Next  to  Irving  Thal- 
berg,  picture  producer.  To 
John  Charles  Thomas, 
famous  baritone  and  mati- 
nee idol.  To  Kenneth  Har- 
lan, screen  actor.  And  most 
recently  to  William  Rhine- 
lander  Stewart,  Jr.,  million- 
aire society  favorite  and, 
brother  of  the  Princess 
Miguel  de  Braganza  and  the 
Viscountess  Maidstone. 

Just  why  do  so  many 
men,  with  the  world  at  their 
feet  as  it  were,  want  to  be- 
come the  husband  of  the 
screen's  charming  comedi- 
enne? 

First  of  all,  Constance  is  very  delight- 
ful to  look  at.  Everyone  knows  that. 
But  men  who  know  a  thing  or  two 
declare  that  Constance's  great  charm  is 
her  vivacity,  her  never-failing  wit  and 
delightful  good  humor,  her  apprecia- 
tion and  response  to  their  work  and 
efforts  to  please  her. 

Connie  is  the  best  ballroom  dancer, 
according  to  masculine  report,  among 
the  screen  stars.  She  plays  a  rattling 
good  game  of  golf  and  swims  like  a  fish. 

"Constance  Talmadge,"  said  a  man 
who  has  been  anxious  to  marry  her  for 
years,  "is  the  kind  of  girl  that  you'd 
love  to  be  with  all  the  twenty-four  hours 
in  the  day.  The  trouble  with  most 
women  is  that  they  fall  down  some- 
where. The  girls  that  are  good  pals  on 
the  golf  links  and  in  an  automobile,  are 

36 


( 'onstance    Talmadge   and    (below)    John 
Pialoglou,  whom  .the  has  divorced 


usually  all  wrong  in  the 
evening.  Connie  is  always 
just  right — that's  why  men, 
when  they  fall  in  love  with 
her,  always  want  to  marry 
her.  And  nowadays  men 
don't  always  want  to  marry 
the  girls  they  fall  in  love 
with,  by  any  means.  Con- 
stance has  had  more  pro- 
posals, to  my  positive 
knowledge,  than  any  other 
girl  in  the  world." 

That  being  the  case,  the 
Editor  of  Photoplay  per- 
suaded her  to  tell  for  the 
first  time  the  kind  of  man 
she  really  would  like  to 
marry. 


By 
Constance  Talmadge 


T  SUPPOSE  there's  one 
J-  thing  worse  than  having 
people  think  everybody 
wants  to  marry  you. 

And  that's  having  people 
think  nobody  wants  to 
marry  you. 

There  are  an  awful  lot 
of  men  in  the  world. 

Really,  I'm  not  keen 
about  roping  one  of  them 
out  of  the  herd  and  putting 
my  own  special  and  private 
and  personal  brand  on  him. 
A  husband  is  an  awful  lot 
of  responsibility. 

I  appreciate  it,  of  course, 
but  I  don't  just  exactly 
understand  why  everybody 
is  so  anxious  to  marry  me 
off.  I'm  a  quiet,  hard- 
working girl,  and  I  like  my 
little  game  of  mah-jong  in 
the  evening,  and  an  occa- 
sional golfing  contest.  I'm  contented 
in  my  own  small  way. 

Marriage,  after  all,  is  largely  a  matter 

of  curiosity.     I've  been  married. 

Now  it's  like  this. 

Some  day  I  may  get  married  again. 

It's   a   temptation   few   seem   able   tc 

resist. 

If  I  do — well,  yes,  there  are  a  fen 
little  things  I  have  in  mind.     A  fev 
requirements  I  think  I'm  going  to  make 
But    don't    take    them    too    seriousl> 
Because,  in  love  affairs,  you  never  car 
tell.     My  intentions  may  be  the  best. 
I  may  swear  I  could  never  marry  a  red- 
headed man,  and  the  very  next  day  I 
might  trot  right  up  to  a  J.  P.  with  a 
man  whose  thatch  was  the  color  of  a 
brick  wall. 
One  thing  is  certain.    It  won't  be  a 


_ 


Is  Connie's  Good  Bad  Man  Among— These? 


Irving  Berlin,  premier  writer  of  pop- 
ular songs,  and  (above  to  right)  Wil- 
liam Rhinelander  Stewart,  Jr_  society 
man  and  millionaire 


long  engagement.  I  do  not  believe 
in  long  engagements.  I  admit 
they  prevent  divorce — usually  by 
preventing  the  marriage.  I  could 
never  marry  a  man  I  knew  all 
about.  You  ought  to  get  some 
fun  out  of  marriage. 

There  is  just  one  kind  of  a  man 
that  all  women  adore. 

Oh,  yes,  we  do.  We  may  deny 
it,  and  blush  over  it,  and  all  that, 
but  it's  true  just  the  same. 

The  good  bad  man. 

You  know;  the  man  who's  been 
a  regular  Bluebeard,  but  is  willing 
to  give  it  all  up  for  our  sweet 
sakes.  The  man  who  has  com- 
mitted a  couple  of  dozen  murders 
without  turning  a  hair,  but  will 
ride  forty  miles  across  the  desert 
to  get  a  vet  for  a  sick  kitten.  The 
man  who's  never  done  a  day's 
good  in  his  life  and  who  is  best 
known  around  town  to  orchestra 
leaders,  bootleggers,  and  idle 
young  married  women,  but  who, 
when  the  bugle  blows,  will  be  the 
first  man  into  the  trenches  and 
the  last  man  out,  with  more 
medals  on  his  chest  than  a  pure 
food  product. 

That's  the  boy. 

If  I  could  find  one  of  those — I 
might  be  tempted. 

The  most  important  question 
with  me  when  it  comes  to  con- 
templating  any   member   of   the 


Kenneth  Harlan  (above),  screen  actor, 
and  (in  center  below)  John  Charles 
Thomas,  the  famous  baritone  and  mat- 
inee idol 


male  sex  as  a  permanent  associate 
is  the  sense  of  humor. 

Should  he  or  should  he  not 
have  one? 

If,  on  the  one  hand,  you  marry 
a  man  without  a  sense  of  humor, 
you  will  probably  be  billed  in 
eight  column  headliners  as  a 
well-known  lady  murderess  before 
the  first  year  is  finished. 

If,  on  the  other  hand,  you 
marry  a  man  with  a  sense  of 
humor,  it  makes  romance  so  diffi- 
cult. No  comedian  ever  plays  a 
good  love  scene  on  the  screen  or 
stage.  He  will  always  sacrifice 
the  thrill  to  get  a  laugh. 

However,  after  due  delibera- 
tion, I  think  in  my  case  he'd 
better  have  a  sense  of  humor  for 
his  own  sake  as  well  as  for  mine. 

Men  talk  themselves  into — and 
out  of — a  lot  of  love  affairs. 

I  think  I  prefer  one  of  these 

silent    men.      Strong    but    silent. 

A  man  that's  a  smooth  talker  is 

a    great    asset    in    some    ways, 

especially  if  you  entertain  much. 

But  he's  dangerous.     He  can  sell 

you  such  a  lot  of  things  you  don't 

want.      You   know   nobody   can 

talk  a  lot  and  tell 

the  truth   all   the 

time. 


ving  Thalberg,  mo- 
tion pictvre  public- 
ity expert 


[  CONTINUED  ON 
PAGE  I  28  ) 

37 


Here  is  the  Norma 
Talmadge  of  to-day 
and  the  Norma  of 
less  than  fire  years 
ago  in  "The  New 
Moon" 


OUR  screen  stars  are  growing  up. 
Have  you  noticed  it? 
We  have  reached  the  end  of  the  first 
decade  of  serious  screen  effort. 

And  those  ten  years  record  histories  of  chang- 
ing personalities  and  dramatic  developments  that 
seem  nothing  less  than  magic. 

No  dynasty  of  kings,  no  glittering  period  of 
history,  no  thrilling,  unbelievable  tale  of  courts 
or  palaces  can  unfold  such  a  panorama  of  amazing 
transformations  as  can  Hollywood  of  the  Twen- 
tieth Century. 

Ten  years  ago — to  use  a  figure  of  speech,  for 
sometimes  it  is  a  bit  more  or  a  bit  less — ten  years 
ago  in  Hollywood  we  had  a  group  of  embryonic 
actors  and  actresses,  blessed  with  promising 
personalities  and  youthful  beauty,  tempered  by 
a  few  stage  recruits  struggling  rather  futilely 
with  a  new  medium  of  expression. 

Most  of  them  were  poor.  Most  of  them  were 
raw  and  many  were  uneducated,  in  the  best 
sense  of  the  word.  Some  of  them  were  failures. 
The  majority  of  them  were  very,  very  young. 
Children,  almost. 

Today,  from  the  weeding  out  of  that  group  by 
time  and  advancement,  have  emerged  men  and 
women  who  are  great  artists,  great  influences  in 
the  world's  thought,  millionaires,  idols  of  the 
nations. 

In  their  development,  in  the  changing  of 
their  personalities,  is  written  a  fairy  tale  and  a 
prophecy. 

For  the  term  of  popularity  of  a  screen  star  is 
as  yet  an  unknown  quantity. 

On  the  stage,  stars  move  upon  a  long  avenue  of 
success.  We  follow  an  Ethel  Barrymore  from 
the  youthful  allure  and  vividness  of  "Captain 
Jinks"    to    the    mature    dignity    and    powerful 


How  They 

Do  Grow  Up! 


Have  you  noticed  how  only  a  few 
years  have  changed  and  improved 
the  Messrs.  Chaplin,  Ray,  and 
Fairbanks,  the  Talmadge  Sisters, 
Mary  Pickford,  and  others? 


By  Adela  Rogers  St.  Johns 


Charles  Spencer  Chaplin  as  he  is, 

and  Charlie  Chaplin  as  he  was 

when  he  made  "His  New  Job" 

for  Essanay 


artistry  of  "Declasse." 
We  worship  Maude 
Adams  no  less  in  the 
middle-aged  delicacy  of 
"A  Kiss  for  Cinderel- 
la" than  we  did 
"Peter  Pan." 

Can  our  screen  stars, 
who  have  come  so  mir- 
aculously out  of  this 
first  trying  decade,  do 
the  same? 

Can  they  develop  a 
richness  of  art  and  a 
power  of  dramatic  in- 
terpretation that  will 
replace  the  things  pass- 
ing years  take  with 
them? 

Looking  back,  or 
looking  forward,  it's 
fascinating  to  pause 
just   now   and    take   a 


What  five  years 
have  meant  to 
Charles  Ray.  In 
''String  Bums" 
in  1918  and  in 
"MUes  Standish" 


Seven  years  ago  Douglas  Fair- 
banks   did    "drunk    scenes." 
Compare  this  with  his  recent 
"Robin  Homl" 


89 


**. 


*-• 


-Jfcl 


The  little  moun- 
tain girl  of  "In- 
tolerance" in 
1916  has  grown 
up.  Constance 
Talmadge  is  now 
"Dulcy" 


bird's  eye  view  of  the  changed  person- 
alities and  developments  of  the  estab- 
lished screen  idols — a  few  of  them. 

Mary  Pickford,  Norma  and  Con- 
stance Talmadge,  Charlie  Chaplin, 
Douglas  Fairbanks,  Gloria  Swanson, 
Harold  Lloyd,  Charles  Ray  —  these 
names  endure  and  increase  day  by  day. 

And  they've  endured  because  they 
have  grown.  Because  they  have  looked 
ahead  and  gone  ahead.  In  those  ten 
years  what  crises  of  tremendous  per- 
sonal emotions  some  of  them  have 
passed.  What  moments  of  threatened 
failure  and  oblivion.  What  great  world 
events  they  have  witnessed.  Marriage, 
divorce,  children,  death,  war,  loss  of 
favor — they've  all  passed  through  some- 
thing. No  wonder  they  have  come  out 
changed. 

A  great  deal  is  being  said  and  written 
about  the  new  Mary  Pickford.  But 
the  transformation  in  Mary  is  no  more 
complete  than  it  is  in  many  others — it's 
just  more  obvious,  that's  all. 

And  Mary,  after  all,  is  the  only  one 
of  them  all  who  is  surrounded  by  that 
strange  aura  of  immortality — the  same 
one  that  belonged  to  Maude  Adams. 
She  will  always  be  Mary  Pickford. 

Only  the  time  has  come  when  Mary 
must  put  up  her  curls,  because  life  has 
made  a  woman  of  her.  Womanliness  is 
in  the  thoughts  behind  her  eyes  and  it 
radiates  outward.  It  is  in  the  new 
lines  of  her  body.  In  the  warm  under- 
standing, the  gentle  curve  of  her  lips. 

Mary,  you  see,  cannot  help  showing 
the  things  life  does  to  her  soul.  Just  as 
the  little  girl  Mary  showed  all  the 
things  that  made  the  Carpenter  of 
Nazareth  love  little  children,  so  the 
woman  Mary  must  reflect  the  new  loves 
and  knowledge  and  suffering  that  have 
come  to  her.  Wifehood,  charity 
for  the  world,  the  love  of  a  man, 
the  desire  for  motherhood,  the 
awakening    of    the    girl-mind, — 

40 


Harold  Lloyd's  "Safety  Last"  was  afar 

cry  from  his  "Love,  Laughs  and  Lather" 

of  only  six  years  ago 


K* 


y*&%-: 


©  Evans 


■     * 


And  here  is  a  change  so  great  as  to  be 
almost  unbelievable.     Gloria  the  bath- 
ing girl,  and  Gloria  Swanson,  grande 
dame 


they're  all  there.  And  no  curls,  no 
slim,  bare  legs,  no  reproduction  of 
child-actions  can  mask  them  any 
longer. 

But  her  art  has  grown  with  them. 
Her  second  "Tess"  was  handicapped 
by  her  unfitness  to  play  the  part  any 
longer.  And  yet  how  surely  she  made 
her  points!  How  the  charm  and 
dignity  and  power  of  her  acting 
registered!  How  she  dazzled  you 
with  her  genius  until  you  forgot  she 
was  a  woman  playing  a  little  girl! 

If  the  public  will 
accept  "America's 
Sweetheart"  as  a  great 
actress  —  and  a  great 
actress  she  has  become 
— we  shall  see  wonder- 
ful  things  in  her 
[continued  on  page  hi] 


Mr.  (jallagher 


6? 


Mr 


Sh 


ean 


Written  especially  for  Photoplay 

By  Themselves 


Mr.  Gallagher,  Mr.  Gallagher. 

I  think  it's  great  to  be  two  moving  picture  stars, 

To  be  a  satellite 

That  shines  by  day  and  night, 

And  to  radiate  with  Jupiter  and  Mars. 

Mr.  Shean,  Mr.  Shean, 

It  all  depends  on  how  we  show  up  on  the  screen, 

If  the  picture  is  a  flop 

We  will  take  an  awful  drop. 

Where  will  we  drop  to,  Mr.  Gallagher? 

Back  to  the  Follies,  Mr.  Shean. 

II 

Mr.  Gallagher,  Mr.  Gallagher, 

Who  are  the  most  important  factors  in  the  cast? 

The  leading  man  with  eyes  of  blue, 

The  comedian  or  the  ingenue, 

Or  the  Cameraman  who  turns  the  crank  so  fast? 

Mr.  Shean,  Mr.  Shean, 

There's  nothing  doing  till  you  see  it  on  the  screen 

Then  it's  an  easy  thing  to  guess 

What  it  is  that  spells  success. 

The  director,  Mr.  Gallagher? 

The  picture,  Mr.  Shean. 


Ill 

Mr.  Gallagher,  Mr.  Gallagher, 

In  moving  pictures  one  must  do  a  lot  of  tricks. 

Up  twenty-seven  stories  high 

When  you  can  almost  touch  the  sky, 

Perhaps  be  buried  underneath  a  ton  of  bricks. 

Mr.  Shean,  Mr.  Shean, 

It  is  not  all  honey  working  on  the  screen. 

"Kliegle"  lights  are  bad  for  eyes, 

But  not  as  bad  as  custard  pies. 

And  if  I  don't  like  custard,  Mr.  Gallagher? 

Then  they'll  get  you  cocoanut,  Mr.  Shean. 


IV 

Mr.  Gallagher,  Mr.  Gallagher, 

Why  do  movie  stars  get  in  so  many  jams? 

Daily  papers  near  and  far 

Tell  the  public  that  they  are 

Nothing  but  a  lot  of  ordinary  hams. 

Mr.  Shean,  Mr.  Shean, 

I  know  a  certain  actor  famous  on  the  screen, 

He  leads  a  clean  and  decent  life, 

Has  no  sweetheart,  has  no  wife. 

Charlie  Chaplin,  Mr.  Gallagher? 

Jackie  Coogan,  Mr.  Shean. 


These  nationally  popular  comedians  (Mr-.  Shean  at  left) 
are  now  making  their  first  bow  as  motion  picture  stars 
under  the  William  Fox  banner.  They  will  be  seen  in 
"Around  the  Town,"  direction  of  Bernard  J.  Durning. 
and  written  for  them  by  Louis  Sherurin 


V 

Mr.  Gallagher,  Mr.    Gallagher, 

When  you're  tired  of  the  city  and  its  strife, 

Wouldn't  you  like  to  settle  dowr 

In  some  pretty  country  town 

With  reel  people  for  the  balance  of  your  life? 

Mr.  Shean,  Mr.  Shean, 

I  could  pick  out  the  very  spot  you  mean. 

It  is  in  the  Golden  state 

And  not  far  from  the  Golden  Gate. 

San  Francisco,  Mr.  Gallagher? 

Hollvwood,  Mr.  Shean. 


VI 

Mr.  Gallagher,  Mr.  Gallagher, 

Photoplay  Magazine  asks  how  we  like  the  movie  game 

They  predict  we'll  be  the  rage 

Same  as  on  the  speaking  stage. 

It's  quite  different  then,  again  it's  much  the  same. 

Mr.  Shean,  Mr.  Shean, 

If  we  become  reel  actors  on  the  movie  screen, 

You  can  go  and  bet  your  socks 

We'll  owe  it  all  to  William  Fox. 

And  Winnie  Sheehan,  Mr.  Gallagher? 

And  Bernie  Durning,  Mr.  Shean. 

41 


- 


Th< 


Tragic  Romance 

of  Luigi 
Montegna 


Or,  The  Love 
That  Blighted  Bull's  Life 

By  Herbert  Howe 


IN  the  life  of  every  great  artist  there  lurks  a  tragedy. 
As  Bull  Montana  told  me  the  story  of  his  tragic  ro- 
mance, my  thoughts  stole  softly  back  to  the  romance  of 
that  other  great  Italian  artist,  Leonardo  da  Vinci.  For 
Bull's  romance  was  quite  as  poignant  as  Leonardo's,  and  a 
great  deal  more  violent. 

Strangely,  too,  Bull  was  born  near  Milan,  the  very  scene 
of  Leonardo's  greatest  activity.  Perhaps  .  .  .  But  no,  I  do 
not  believe  in  reincarnation  .  .  . 

Leonardo's  love  was  the  Mona  Lisa  Gioconda  of  Flo- 
rence; Bull's  was  the  Lady  Lil  of  Tent'  avenoo,  Noo  York. 

They  met,  Signor  Bull  and  Lady  Lil,  in  one  of  those 
quaint  old  cafes,  bearing  the  sign  "Family  Entrance." 
Those  were  the  days  before  romance  was  driven  into  the 
cellar  by  Signor  Volstead. 

Bull's  artistic  career  was  just  in  the  dawn.  He  had  been 
a  pick  and  shovel  sculptor,  an  ice  man,  a  bouncer  and  a 
wrestler. 

It  was  after  a  victorious  wrestling  bout  that  he  first 
glimpsed  the  Lady  Lil.  She  smiled  at  him,  a  shy  maiden's 
smile.     And  Bull,  all  a-rlutter,  said,  "Hello  kee-ed." 

He  had  only  thirty-five  cents  in  his  pocket,  but  he 
squandered  it  all  on  beer  for  Lil.  When  it  was  gone  Lil 
reached  impulsively  into  her  stocking  and  advanced  him 
a  loan  of  five  dollars.  It  was  then  that  Bull  knew  he  loved 
the  Lady  Lil.  He  no  longer  called  her  kid,  but  "sweet 
mama." 

Both  young,  both  full  of  ideals,  they  had  much  in  com- 
mon .  .  . 

Bull  wanted  to  marry  Lil,  but  she  foolishly  refused  .  .  . 

She  was  so  very,  very  young  .  .  .  And  life  so  sweet  .  .  . 
So  very,  very  sweet  .  .  . 

Perhaps  she  felt  she  could  hold  him  without  marriage. 
Pauvre  Lil!  She  knew  nothing  of  Italian  sheiks.  For  in 
those  days  there  was  no  Valentino. 

Other  women  admired  the  manly  Bull  .  .  .  And  came  an 
evening  when  Bull  was  late  for  his  appointment  with  Lil. 
Hers  was  a  suspicious  nature,  was  Lil's.  She  was  driven  into 
a  frenzy  of  jealousy — not  without  reason,  perhaps.  And  le 
pauvre  Bull's  halting  English  made  his  excuses  appear  even 
worse  than  they  might  ordinarily  have  been  .  .  . 

Madness  seized  Lil,  the  madness  of  a  jealous  woman  trifled. 
Lashed  by  the  green-eyed  monster,  poor  Lil  lost  control  com- 
pletely and  called  Bull  a  wop — a  condemned  wop.  She  called 
him  other  bad  names  .  .  . 

Gravely  shocked  by  her  words,  the  pious  Bull  delivered  a 
few  religious  terms  himself,  and,  muttering  a  disgusted  "For 
Gossakes!"  quit  her  drawing  room  precipitately. 

As  he  fled  down  the  stairs  into  the  night,  he  was  followed 


The   memory  of  that  first 
great  love  ever  haunts  him 


His  broken  heart  gives  him 
that  wistful,  tender  look 


Society  entertained  him  at  teas  and  dinners. 
Bull  as  a  gold-digger 


by  Lil's  alarm  clock,  which  crashed  into  his  beautiful  new 
brown  derby  .  .  .       All  was  over  .  .  . 

That  was  some  eight  years  ago,  but  Bull  still  carries  the  ache 
in  his  heart  and  the  dent  in  his  derby. 

Such  was  the  story  Bull  told  me  in  a  husky  voice,  broken 
now  and  then  by  piercing  expectorations,  as  we  drove  hysteri- 
cally down  Hollywood  Boulevard  in  his  shining  Cadillac  with 
the  silver  statuary  on  the  radiator  top. 

I  knew  from  the  way  his  hands  gesticulated  madly  from  the 
steering  wheel  that  life  meant  nothing  to  Bull  any  more.  And 
I  silently  prayed — for  us  both. 

As  we  pounced  around  a  corner  we  narrowly  missed  a  great 
closed  car  in  which  I  saw  the  pale  face  of  Pola  Negri,  paler 
perhaps  than  usual. 

"Whoa,  boy!"  ejaculated  Bull.  "Seedat?  If  I'd  hit  heem, 
I  could  kill  two  wops." 

He  brandished  his  hands,  another  expectoration  bit  the  air, 
and  the  automobile  graciously  shied  an  oncoming  street  car. 

I  was  wishing  we  had  brought  Mister  Montana's  chauffeur, 
Lancelot.     But  Bull  said  Lancelot  had  a  date. 


Bull  carries — has  for  years 
— that  ache  in  his  heart 


Doug    Fairbanks   engaged 
him  to  look  like  a  burglar 


His  romantic  type  iron  him 
his  place  in  pictures 


I  worked  on  a  derrick,  but  a 
horse  got   my  job  from   me 


At  the  parking  station  in  Los  Angeles,  Bull  turned  his  ear 
over  to  the  boy  in  charge. 

"Swell  car,"  said  the  boy,  "Who  you  driving  for?" 

"Who  I  driving  for?"  bellowed  the  outraged  Bull.     "For 
Mister  Bool  Montana!" 

Whereupon,  eyeing  the  lad  belligerently,  he  unscrewed  the 
silvery  statuary  from  the  hood  and  took  it  with  him  to  the 
Italian  cafe  where  we  dined  on  anti- 
pasti,  ravioli,  spaghetti,  zucchini,  beef- 
steak and  other  delicacies. 

Over  a  bottle  of  nectar,  prepared  in 
the  Italian  manner  by  a  friend  of  Bull's 
who  owns  a  vineyard,  the  conversation 
reverted  to  Romance. 

It  was  at  the  age  of  nineteen  that 
Bull,  then  bearing  the  name  of  Luigi 
Montegna,  arrived  in  America  from  the 
little  village  in  Italy. 

"  What  were  you  then?  "  I  asked  him. 

"A  bum,"  said  Bull  promptly. 
"Sure,  sure,  sure — a  boom." 

For  all  his  success,  Bull  has  not 
changed.  He  is  the  same  simple,  demo- 
cratic fellow  as  the  lad  who  worked  for 
three  cents  a  week  as  a  shoemaker's 
assistant  in  Italy. 

Like  many  of  his  countrymen  who 
come  to  this  country,  Bull  took  to  the 
pick  and  shovel.  Then  he  worked  a 
derrick  in  a  stone  quarry.  He  left  it 
to  enter  a  factory,  but  he  didn't  like  the 
confinement  and  came  back  to  the 
derrick. 


In  his  earlier  days,  Bull  was  a  more 
or  less  noted  wrestler 


''But  when  I  come  back  to  my  old  job,  a  horse-  had  it,"  he 
remarked  pathetically. 

That  was  only  one  of  the  many  disappointments  and  dis- 
illusionments  which  Bull  has  met  in  his  fight  upward. 

While  working  as  a  trainer  in  a  New  York  gymnasium  he  was 
noticed   by   Douglas   Fairbanks.     Doug   was  struck   by   the 
young  Italian's  romantic  type  and  requested  the  pleasure  of 
an  introduction. 

"Who  this  guy,  Dooglas?"  demand- 
ed Bull.  He  was  told  that  Dooglas 
was  a  "big  swell,"  getting  five  thou- 
sand dollars  a  week  in  the  motion 
pictures. 

"Five  thousand  dollars  a  week!" 
scoffed  Bull.  "What  you  think  I 
crazy?  That  guy  no  beeg  sweel.  He 
ain't  got  a  diamond." 

Bull  had  a  right  to  his  scorn,  for  he, 
himself,  had  a  horseshoe  stick  pin  with 
twenty-one  rocks,  purchased  at  a  bar- 
gain from  a  burglar  friend. 

A  few  months  after  the  chance  meet- 
ing, Doug  sent  Spike  Robinson  to  find 
Bull  for  a  part  in  "In  and  Out." 

Bull  had  just  made  two  hundred 
dollars  in  a  fight  and  was  setting  up  his 
friends  when  Spike  arrived  on  the 
scene.  The  two  had  never  met  at 
that  time,  though  they  are  now  fast 
friends — the  Damon  and  Pythias  of 
the  industry. 

"Are  you  Bool   Montana?"   asked 

Spike.  [  CONTINUED  ON  PAGE  1 14  ] 


Simple  and  democratic  he  is,  even  driving  his  own  car 


Bull  in  front  of  his  own  home,  as  the  Lord  of  the  Manor 

■><■! 


There  are  many  \inds  of  cour- 
age. Even  a  "hcman"  of  the 
films  may  \ac\  one  \inc\  and 
have     another     much     greater 


Th 


Stuffed 
Shirt 


By  Frank  R.  Adams 


Illustrated  by 
R.  Van    Buren 


NEVER  would  you  have  suspected  that  Norma 
Lawrence  would  be  the  kind  of  a  girl  to  fall  in  love 
with  a  motion  picture  actor.  She  certainly  would 
not  have  suspected  it  herself. 

And  yet  there  was  William  B.  Gaites  and  there  was  herself, 
— and  she  could  feel  herself  slipping. 

Everyone  had  thought  that  it  was  perfectly  safe  to  let  her 
run  around  with  the  studio  crowd  that  winter, — even  her 
mother  did  not  disapprove.  You  see  Norma  was  such  a 
sensible  girl  even  if  she  did  not  look  that  way, — at  least  not 
enough  so. to  be  unattractive.  But  she  had  been  around  a 
good  bit,  had  been  engaged  several  times  and  had  a  very 
modern  point  of  view  on  the  so-called  institution  of  marriage. 
The  specifications  which  she  had  laid  down  as  necessary  for 
the  man  who  could  make  her  forsake  her  spinsterhood  were 
so  exacting  that  there  seemed  little  chance  of  ever  meeting 
up  with  any  one  human  being  who  could  comply  with  all  of 
them.  She  required  courage,  courtesy,  cleverness,  compati- 
bility and  a  lot  of  other  things  beginning  with  different  let- 
ters of  the  alphabet. 

Of  course  Norma  had  known  about  William  B.  Gaites  for 
a  long  time.     It's  pretty  hard  to  find  anyone  in  the  United 
States  or  anywhere  for  that  matter  who  isn't  familiar  with 
the  slightly  irregular  features  of  the  screen's  most  masculine 
personality. 

But  she  had  not  gazed  directly  into  his  harsh  but  not  entirely 
repellent  physiognomy  until  the  ebb  of  guests  toward  the  swim- 
ming pool,  at  Mrs.  La  Guerre's  dinner  party,  had  left  Bill  and 
herself  stranded  in  the  music  room,  with  no  props  but  a  grand 
piano  which  neither  of  them  could  play,  except  by  electricity. 

So  they  had  to  get  acquainted. 

"You're  not  an  actress?"  he  ventured. 

"No,"  Norma  concurred,  thinking  at  the  same  time,  "He 
has  rather  a  nice  voice,  bass  without  making  you  fear  that  he'll 
break  out  with  'Asleep  in  the  Deep'  any  moment  you  lose  con- 

U 


trol  of  him."     She  continued  out  loud,  "You  see,  I  can't  act." 

"You  needn't  be  so  proud  of  that.  Lots  of  us  are  in  the 
same  boat." 

"Modest, — perhaps":  Norma's  mental  comment.  "Do  you 
always,"  she  asked  audibly,  "just  play  your  natural  self?" 

"  I  refuse  to  fall  into  so  guileless-seeming  a  trap.  If  you  have 
ever  seen  any  of  my  pictures  you  know  that  there  ain't  any  such 
a  animile  as  I  seem  to  be  on  the  screen.  However,  the  fact  that 
I'm  no  actor  doesn't  prevent  me  from  hiring  a  good  director  and 
a  competent  cameraman." 

"Is  it  your  director  who  always  endows  you  with  such  a  rug- 
ged personality?" 


"  No,  that's  the  public.  I  once  wore  chaps  and  a  Stetson  in  a 
'special'  that  was  a  big  hit  and  since  that  time  they  have  been 
clamoring,  positively  clamoring,  my  dear,  for  more  of  me  as  a 
daredevil  cowboy." 

Norma  looked  at  him  swiftly  to  see  if  he  was  talking  seriously 
or  not.  Her  decision  was  that  he  was  not  yet  committed  to 
either  course  but  was  waiting  to  play  up  to  her  own  idea  of  him. 
She  decided  to  be  a  fatuous  admirer.  There  seemed  to  be  more 
sport  in  watching  him  perform  on  a  pedestal. 

"I  think  the  way  you  ride  and  shoot  is  just  wonderful,"  she 
observed  innocently,  "and  your  strength  and  courage  give  me 
in  awful  thrill." 


Grasping  the  police  dog  by  the  throat,  she  choked  him  away  from,  his 
victim,  while  Bill,  the  hero,  the  "he-man,"  stood  by,  wailing  for  help 


For  an  instant  she  wondered  if  perhaps  she  had  not  laid  on  the 
sticky  stuff  a  little  too  thick,  especially  when  he  shot  her  a  glance, 
out  of  character,  calculated  to  pierce  her  bland,  blond  exterior. 

But  he  didn't  find  anything  suspicious  lurking  back  of  the 
baby  blue  eyes,  nothing  in  that  guileless  face  except  what  he 
usually  found  in  feminine  faces  which  were  turned  in  his  direc- 
tion and  he  warmed  up  in  the  sunlight  of  her  admiration  and 
posed  very  effectively  for  her  in  some  of  his  ruggedest  and  he-est 
attitudes. 


Norma  laughed  a  little  inwardly  but  she  liked  it.  Say  what 
you  will,  the  women  do  fall  for  sheer  physical  strength  and 
courage.     Even  the  high-bred  cultured  college  lassies. 

Before  they  got  through  talking  Norma  was  his'n,  all  but  a 
few  reservations. 

So  she  accepted  his  invitation  to  go  walking  with  him  in  the 
hills  the  next  morning. 

He  called  for  her,  together  with  Ranger,  a  big  brute  of  a  police 
dog.  who  was  harassed  considerably  by  a  leather  leash  which 
connected  him  up  with  his  master. 

"No  motion  picture  actor  can  claim  to  have  arrived  until  he 
owns  a  police  dog,  Buster  Keaton  says,  so  finally  I  got  one," 
William  Gaites  offered  defensively. 

"He's  lovely,"  Norma  admired,  starting  to  pat  the  dog. 

"  Gr-r-r-r,"  said  Ranger,  drawing  an  automatic  from  his  hip 
pocket,  or  at  least  wearing  that  kind  of  an  expression. 

"'The  deuce  you  say,"  Norma  returned.  "Gr-r-r  right  back 
at  you.  That  means  'Drop  that  gun,  you  big  bully,  or  you're 
going  to  find  out  I'm  the  man  you  thought  you  was."  I  have 
a  dog  about  your  size  for  breakfast 
every  morning.  And  I'll  bet  I'd  find 
your  dark  meat  pretty  tender  in  spite 
of  the  fact  that  you  talk  about  being 
so  darn  tough.  Boy,  if  you  don't 
smile  and  wag  your  tail  I'm  going  to 
tie  your  ears  under  your  chin  for  a 
neck  tie." 

"I  wouldn't  touch  him,"  cautioned 
the  actor.  "  I've  only  had  hjm  a  short 
time  and  I'm  not  quite  certain  what 
he  will  do." 

"I  am.  You've  got  to  be  certain 
with  a  dog  or  else  you're  bound  to  be 
uncertain,  if  you  get  what  I  mean. 
This  pup  likes  me  all  right  but  he 
hates  to  admit  it." 

And  sure  enough  he  did  stand  for 
Norma's  advances.  He  was  a  little 
sulky  about  giving  in  so  easily  after 
having  made  such  a  noisy  bluff,  but 
he  had  to  concede  with  a  faint  tail 
motion  that  she  was  a  rather  power- 
ful dog-vamp  and  that  if  anybody 
was  going  to  pull  his  ears  it  might  as 
well  be  she. 

They  had  an  interesting  climb  in 
the  hills  back  of  Hollywood.  Ranger 
was  slightly  impatient  and  more  than 
slightly  contemptuous  of  their  lack  of 
endurance  and  enterprise  in  the  mat- 
ter of  chasing  rabbits,  but  he  resigned 
himself  to  their  compulsory  society 
and  stoically  stood  for  a  lot  of  petting 

that  he  had  formerly  supposed  was  endured  only  by  Poms  and 
Pekes.  It  wasn't  so  bad  if  he  salved  his  doghood  by  pretending 
to  be  bored  by  it. 

They  walked  together  often  after  that.  The  third  or  fourth 
day  William  Gaites  kissed  her.  Norma  let  him.  It  was  rather 
nice  being  made  love  to  right  out  there  in  the  broad  sunlight 
on  the  nice  warm  shoulder  of  a  friendly  hill.  It  seemed  an 
honest  kind  of  love,  nothing  clandestine  about  it.  The  pres- 
ence of  Ranger  even  made  it  a  sort  of  public  affair.  If  anyone 
were  going  to  disapprove  surely  he  would  be  the  first.  But  he 
didn't  seem  to  mind  a  kiss  or  two, — maybe  he  was  shyly  glad 
to  have  attention  distracted  from  himself.  Perhaps  he  thought 
that  if  they  got  interested  enough  in  each  other  he  would  be 
allowed  to  roam  the  trails  by  himself. 

Naturally  after  Norma  and  Bill  had  discovered  that  there 
were  other  uses  for  lips  besides  conversation  their  dialogue 
degenerated  in  sparkle.  There  is  really  very  little  to  report 
about  the  exchange  of  ideas  between  a  man  and  a  maid  who  are 
just  sort  of  filling  in  between  times. 

Except,  of  course,  when  they  quarrel. 

The  engagement  was  all  arranged  and  announced  quite  form- 
ally. Norma  found  herself  the  object  of  dazzling  publicity. 
Before  the  newspapers  began  making  a  fuss  over  the  approach- 
ing end  of  Bill  Gaites'  bachelorhood  Norma  had  not  quite 
realized  what  a  popular  idol  he  was.  Apparently  he  was  re- 
garded as  almost  a  member  of  the  family  in  two-thirds  of  the 
households  in  the  United  States. 

It  made  her  feel  a  little  bit  afraid.  Also  it  sometimes  made 
her  wonder  just  what  that  reputation  was  built  upon.     To  her 

40 


Famous  Director 

Analyses  Charm  of  New 

Screen  Stars 

T^RED  NIBLO  tells  why  Barbara 
■*■  La  Marr,  Nita  Naldi,  Leatrice 
Joy,  Mae  Busch,  Lila  Lee  and  others 
have  attained  their  present  high 
places  in  the  esteem  of  motion  pic- 
ture patrons.  He  details  the  qual- 
ities which  appeal  to  both  men  and 
women  and  contrasts  the  different 
methods  that  they  use  to  reach  the 
same  results.  His  analysis  is  in- 
cisive and  authoritative. 

Don't  miss  this  absorbing  article 
in  the  November  issue  of  Photoplay. 

Out  October  15 


he  was  wonderful  but  the  rest  of  the  world  could  not  know  him  as 
she  did ,  could  not  possibly  sense  the  almost  feminine  fineness  of  his 
mind,  the  tender  graciousness  of  the  lover,  the  sparkling  intimate 
cleverness  of  her  nearly  husband.  Why,  Bill's  real  character  con- 
tradicted almost  everything  that  he  seemed  to  be  on  the  screen. 

Which  Bill  did  the  public  adore?  Which  one  did  she  admire 
most  herself? 

The  answer,  of  course,  was  that  she  loved  the  real  man. 

But  which  was  the  real  man? 

II 

THE  wedding  was  set  for  a  certain  Thursday.     The  date 
doesn't  really  matter  in  Hollywood  because  there,  with  a 
few  minor  wet  exceptions,  all  months  are  June  and  there  are 
always  honeymoon  flowers,  honeymoon  smells  and  other  things. 
Anyway, — Thursday. 

Wednesday  evening  they  went  walking  together, — all  three 
of  them  because  Ranger  was  going  to  be  part  of  the  ceremony 
on  the  morrow, — just  as  important  as  anybody.  He  was  part  of 
that  "allmy  worldly  goods"item  which 
comes  somewhere  among  the  list  of 
things  the  groom  promises  to  give  up. 
They  did  not  kiss,  these  two  upon 
the  threshold  of  marriage.  It  was  too 
solemn  a  moment.  Norma  could 
scarcely  conceive  of  any  man  having 
understanding  enough  to  know  that, 
standing  at  the  altar  as  she  nearly  did, 
she  wished  to  purify  herself  in  the 
clean  rays  of  the  moonlight. 

They  were  rather  silent,  too.  Not 
uncompanionable  but  more  as  if  they 
were  musing  together  using  a  com- 
mon mind  in  which  fluid  thoughts 
ran  from  one  end  to  the  other  without 
verbal  expression. 

It  was  a  very  happy,  heavenly  sort 
of  night. 

Until  Ranger  broke  his  leash  with 
one  unexpected  leap  and  fell  upon  a 
passing  Airedale  whom  he  hated. 

The  Airedale  fought  for  fifteen 
seconds  and  then  collapsed  with  Ran- 
ger at  his  throat.  (Airedale  owners 
who  contend  that  their  breed  can 
whip  anything  on  four  legs  accept  our 
apologies.  Maybe  this  wasn't  a  full- 
blooded  Airedale, — or  maybe  he  had 
just  had  a  bath  and  didn't  want  to 
get  all  dirty  by  prolonging  the  fight.) 
The  Airedale  yelped  once  with 
fright  as  the  tusks  of  the  police  dog 
met  in  the  skin  of  his  throat  and  then 
there  was  a  second's  silence. 

Then:  "  My  God,  he's  killed  him!   Somebody  do  something." 
It  was  William  B.  Gaites  speaking,  but  his  poise  had  deserted 
him  in  the  crisis  and  he  was  shouting  almost  hysterically. 

"Help!  Somebody  separate  them!  Help!"  He  danced 
about  the  two  dogs  in  a  frenzy  of  helplessness. 

"Make  Ranger  let  go,"  suggested  Norma,  practically. 
"How?" 
"Choke  him." 

"  With  my  hands?     He  might  bite!" 

"A  doctor  can  fix  that.  You  don't  want  him  to  kill  that  dog." 
"No,  but  I  don't  dare  touch  Ranger.     He  might  turn  on  me." 
Norma  heard  uncomprehendingly.     Something  inside  of  her 
was  sick,  anyway. 

Other  people  had  gathered  from  nearby  houses,  doubtless 
attracted  by  the  shout  of  the  famous  motion  picture  star,  but 
none  of  them  seemed  disposed  to  interfere. 

So  Norma  did  it  herself.  Straddling  the  back  of  the  police 
dog,  who  was  crouched  in  the  attitude  of  a  lion  devouring  its 
prey,  she  circled  his  neck  with  her  small  but  strong  hands.  The 
tips  of  her  fingers  met  over  the  dog's  windpipe.  She  pressed  in 
with  all  her  might. 

In  surprise  Ranger  opened  his  mouth  to  gasp  for  air. 

The  apparently  dead  Airedale  got  up  like  a  flash  of  lightning 

and  went  swiftly  and  silently  down  the  street,  leaving  a  trail 

of  blood  which  testified  that  assistance  had  come  just  in  time. 

Norma  held  Ranger  by  the  collar  while  William  tied  the 

broken  leash  together. 

They  walked  home  immediately,— quite  strangers. 


"You  needn't  be  so  proud  of  that.     Lots  of  us  are  in  the  same  boat" 


This  man  who  had  failed  so  egregiously  in  the  face  of  danger, 
— of  only  slight  danger, — was  absolutely  unknown  to  Norma. 
She  had  never  met  him  before. 

Ill 

HE  had  intuition  enough  to  know  that  she  would  not  marry 
him  the  next  day  and  he  tactfully  spared  her  the  trouble 
of  making  the  break.  In  the  morning  he  sent  a  note  by  a  mes- 
senger saying  that  on  account  of  unavoidable  family  matters 
the  ceremony  would  have  to  be  postponed. 


She  knew  that  he  was  giving  her  back  her  freedom  and  that 
he  would  never  seek  her  out  again, — ever. 

IV 

NORMA  was  very  bitter  for  a  while.     Losing  someone  you 
love  isn't  really  so  bad  as  finding  out  that  he  never  was. 
Quite  by  accident  one  evening  she  went  with  a  party  to  a 
neighboring  theater  at  which  an  unnamed  photoplay  pre-view 
was  scheduled.     It  turned  out  to  be  "William  B.  Gaites  in 
'Steelheart.' " 

47 


it. 


--&-- 


Norma  laughed  out  loud  when  the  title  was  flashed  upon  the 
screen.  In  her  mind's  eye  was  the  picture  of  a  helpless  flapping 
creature  hovering  over  two  fighting  dogs  and  shouting  in  a 
hysterical  high-pitched  voice. 

That  vision  persisted  all  through  the  picture  and  blurred  her 
perception  of  the  cold,  hard  features  of  "Steelheart"  Jones 
upon  the  screen,  a  countenance  as  square-jawed  and  unyielding 
as  the  Great  Stone  Face  carved  in  the  eternal  granite,  a  visage 
that  was  almost  the  embodiment  of  masculine  courage  and 
power.  When  "Steelheart"  stood  at  bay,  his  gun  empty,  and 
faced  the  howling  wolves  with  nothing  but  his  bare  hands, 
Norma  had  to  leave  the  theater.  It  seemed  as  if  there  was 
a  lump  of  lead  in  her  stomach. 

1$ 


No  one  but  Norma  herself  knew 
that  the  wedding  was  off  forever. 
She  had  not  even  told  anyone 
about  what  had  happened.  It  was 
too  difficult  to  explain,  even  if  she 
had  been  willing  to  spread  a  tale 
so  humiliating  to  a  man  whom  she 
had,  at  least,  once  thought  she 
loved. 

She  was  terribly  unhappy  and 
wanted  to  talk  about  it,  too.  There 
were  other  memories,  wistful  con- 
flicting memories,  that  tried  to 
crush  the  cynical  laughter  out  of 
her  heart.  They  pleaded  for  Bill, 
reminded  her  of  his  whimsical 
tenderness,  of  his  understanding. 
Why,  once  he  had  made  her  think 
that  in  all  the  world  he  was  the 
one  man  who,  when  the  novelty  of 
sex  attraction  wore  off,  would  be 
able  to  invent  something  else  just 
as  interesting. 

Norma  was  visiting  the  Soldiers' 
Home  at  Sawtelle  one  day  with  a 
party  of  women  bent  upon  cheer- 
ing up  the  veterans.  Norma 
wasn't  particularly  successful  at 
it,  probably  because  she  wasn't 
feeling  so  very  cheerful  herself. 
One  of  her  victims  recognized  her 
name  and  drew  her  to  one  side. 

"You're  the  girl  William  B. 
Gaites  is  going  to  marry,  ain't 
you?"  He  was  an  old  man,  natu- 
rally, but  his  voice  was  as  eager  as 
a  boy's.  "I  wish  you'd  tell  me 
about  him.  He's  my  favorite 
actor.  I  can't  stand  some  of  them 
screen  dolls  but  that  Gaites  fellow, 
— by  God,  there's  a  man." 

All  the  old  symptoms  over- 
whelmed Norma,  nausea,  longing 
to  have  her  own  Bill  back  and  an 
insane  desire  to  tear  that  hideous 
solemn  mask  of  courage  from  his 
face  and  show  the  world  the  cring- 
ing weakling  beneath.  Norma 
hated  deceit,  would  not  herself  lie 
to  save  her  soul  from  hell,  and  had 
no  tolerance  for  untruth  in  others. 
So  she  told  this  stranger,  this 
old  soldier,  about  his  idol,  ripped 
off  the  painted  sham  and  turned 
the  sunlight  arc  full  upon  the  real 
Willie  Gaites. 

But  a  curious  thing  happened. 
As  she  talked  she  lost  her  audi- 
ence. She  could  feel  the  old  man 
drawing  away  from  her  and  before 
she  could  finish  he  got  up  indig- 
nantly. 

"It's  a  lie,"  he  said,  "and  I 
won't  listen  to  it.  A  man  with  his 
kind  of  a  face  couldn't  be  a  cow- 
ard. Why  should  you,  who  are 
about  to  become  his  wife,  want  to 
blacken  his  character?" 

"  I'm  never  going  to  be  his  wife. 
I  couldn't  since  I  know  what  he  really  is." 

"He's  mighty  lucky."     The  old  soldier  drew  a  sigh  of  relief 
at  contemplating  Gaites'  narrow  escape. 

Norma  felt  strangely  humiliated  by  the  old  man's  loyalty  to 
her  ex-fiance.  Well,  maybe  she  would  have  been  fanatically 
loyal,  too,  if  she  had  not,  with  her  own  eyes,  seen  past  the 
stuffed  shirt  that  the  public  had  believed  was  William  B.  Gaites. 
"Besides,"  said  the  veteran  as  he  walked  away,  "he  would 
have  been  a  fool  to  have  tackled  that  dog  when  he  was  mad 
like  that.  Anybody  who  did  would  be  a  fool." 
There  you  were. 

Norma  never  again  tried  to  test  out  the  validity  of  her  reac- 
tion by  telling  anyone  else  about  it.        [  continued  on  page  to8  1 


Norma  had  to  leave  the 

theater.     It  seemed  as  if 

there  was  a  lump  cf  lead 

in  her  stomach 


Here  are  two  girls  who, 
rumor  says,  have  refused 
to  marry  Craig  Biddle, 
of  Philadelphia.  At  the 
right  is  Mary  Louise 
Hartje,  daughter  of  a 
Pittsburgh  millionaire, 
who  jilted  young  Biddle 
and  married  Louis 
Woods,  of  Memphis. 
With  the  golf  bag  is 
Derelys  Perdue,  to  whom 
Biddle  transferred  his 
affections,  but  who  also, 
it  is  said,  declines  to 
marry 


The  movie  colony's  latest 
sport  —  water  golf  —  as 
played  in  the  pool  at  the 
Ambassador  Hotel,  Los 
Angeles.  Derelys  Per- 
due, Mary  Hartje  and 
Warner  Baxter  intro- 
duced the  game  and  are 
devotees.  The  driving  is 
done  with  a  mashie  and 
the  putting  with  special 
paddle-clubs.  The  float- 
ing marker  is  the  green 


They  Won't 

Marry 

Millions 


49 


Cecil  B.  De  Mille,  the 

de  luxe  brother,  and  his 

magnificent  residence 


By  Adela  Rogers  St.  Johns 


Cecil  6? 
Bill 


Blood  brothers,  closely  \nit  by  ties  of 
affection  and  respect,  the  De  Milles  are 
as  opposed  as  the  poles  in  their  types 
of  pictures,  methods  of  wor\  and  per' 
sonal  tastes  and  habits 


IT  is  a  strange,  but  indisputable,  fact  that  the  two  most 
entirely  different  directors  in  motion  pictures  are  brothers, 
William  C.  de  Mille  and  Cecil  B.  De  Mille. 
And  in  that  one  line  are  their  contrasts  epitomized. 
Cecil  is  "De"  Mille.    William  is  "de"  Mille. 

Nothing  in  the  world  is  so  fascinating  as  a  study  in  contrasts. 

And  Hollywood  has  watched  and  commented  upon  and  en- 
joyed for  many  moons  the  contrast  between  the  brothers. 

Now,  this  contrast  is  being  appreciated  by  the  public,  which 
is  coming  to  know  William's  work  almost  as  well  as  Cecil's.  It 
has  been  bannered  forth  to  the  picture  fans  by  the  simultaneous 
release  of  Cecil  De  Milk's  "Adam's  Rib,"  and  William  de 
Mille's  "Only  38." 

Naturally,  this  vast  difference  in  the  type  of  picture  two  men 
can  make  becomes  especially  intriguing  when  they  are  blood 
brothers  and  devoted  friends. 

They  seem,  in  spite  of  all  ties  of  blood  and  heritage,  all  simi- 
larity of  training  and  education,  to  typify  the  very  poles  of 
dramatic  viewpoint  and  the  very  ends  of  the  world  in  differences 
of  method  in  achieving  utterly  different  results. 

Yet  there  never  were  two  brothers  more  closely  bound  by 
affection  and  respect. — More  clannish, — more  marked  by  cer- 
tain physical  resemblances  and  mannerisms.  They  enjoy  each 
other's  society  to  the  highest  degree.  They  fight  and  argue 
with  magnificent  frankness  and  mutual  respect  and  amusement. 
They  are  both  devoted  and  loyal  sons  to  the  dignified  and  bril- 
liant old  lady  who  lives  on  a  Hollywood  hillside  and  still  inspires 
and  controls  them  by  her  vast  knowledge  and  her  shrewd 
judgment. 

They  have  intense  pride  of  race — of  family  name — of  the 
history  their  ancestors  made. 

It  is  impossible  in  this  short  space  to  mirror  for  you  the  full 
distance  between  "Adam's  Rib"  and  "Only  38."  I  can  only 
suggest  that  you  see  them  for  yourself.  Both  dealt,  funda- 
mentally, with  somewhat  the  same  problem.  The  love  affair 
of  a  woman  in  middle  life  and  its  effect  upon  her  daughter. 
And  the  daughter's  effect  upon  the  love  affair. 

You  will  hardly  believe  that,  with  the  same  tools — tools  of 

50 


a  story,  and  actors,  and  cameras — two  such  widely  different 
results  could  be  flashed  upon  the  screen  for  you. 

Some  will  prefer  one.  Some  the  other.  No  two  people,  I  be- 
lieve, will  really  like  them  both. 

But  they  stand  there  representing  the  eternal  opposites  in 
motion  pictures. 

William  is  a  student.    An  artist.    A  Rembrandt. 

Cecil  is  a  showman.    An  entertainer.    A  Rubens. 

William  believes  in  telling  a  story,  simply  and  humanly,  about 
any  combination  of  human  beings,  and  letting  you  draw  your 
thoughts  and  your  morals  and  your  premise  from  it  as  you  see  it. 

Cecil  chooses  to  select  a  theme  first  and  then  to  fit  a  story 
to  this  theme  which  will  write  upon  the  silver  sheet  his  own  con- 
clusions regarding  it.  He  creates  his  screen  characters  not  from 
individuals,  but  from  groups,  the  composite  of  five  thousand 
human  beings  exemplifying  the  characteristics  most  universal 
to  the  group. 

William  believes  that  dramatic  material  of  world-wide  grip 
and  immense  power  is  to  be  found  in  every  individual.  It  is  the 
treatment,  not  the  plot,  that  matters.  He  is  continually  ex- 
ploring and  presenting  the  subjective.  He  can  actually  put 
thoughts  on  the  screen. 

Cecil  uses  always  the  most  spectacular  and  exaggerated  and 
vivid  methods  of  presenting  his  thematic  conclusions. 

William  is  subtle.    Cecil  is  daring. 

And  they  get  their  results  in  just  as  different  ways  as  those 
results  indicate. 

Their  methods  of  direction  are  as  different  as  the  music  of 
Chopin  and  Wagner. 

Cecil  is  dynamic — terrifying  at  times,  inspiring  at  others. 
Actors  long  to  work  for  him,  will  make  any  sacrifice  for  the 
chance,  and  yet  they  dread  it.  They  know  he  will  force  them, 
drive  them,  inspire  them,  drag  them  somehow  to  give  the  screen 
better  performances  than  they  can.  But  they  know  they  will 
have  to  stand  the  lash  while  he  is  doing  it. 

His  language  is  intense,  pictorial,  ruthless  in  its  heights  of 
sarcasm,  merciless  in  its  quiet  frankness.    Yet  strangely  com 
pelling.     Strangely  inspiring. 


Cecil  15  "De"  Milk. 
William  is  "de"  Mille. 
Cecil  is  a  showman,  a  Rubens. 
William  is  a  student,  a 

Rembrandt. 
Cecil  is  daring,  and  dynamic. 
William  is  subtle,  and  gentle. 
Cecil  is  driven  in  a  Locomobile 

limousine. 
William  drives  a  three-year-old 

Buic\. 
Cecil  owns  an  electric  pipe  organ. 
William  plays  an  old  melodeon. 
Cecil  is  an  ardent  yachtsman. 
William  is  a  good  tennis  player. 
Cecil  spent  $350,000  on  "Adams  Rib.' 
William  made  "Only  38"  for  $125,000. 
Cecil  is  from  Balzac. 
William  is  from  Barrie. 


William   C.  de   Mille   and  his 
home  in  Hollywood 


Do  you  remember  Wanda  Hawley's  performance  in  "The 
Affairs  of  Anatol"?  The  only  really  fine  piece  of  acting  she 
ever  did — and  it  was  a  masterpiece.  That  is  a  perfect  example 
of  what  Cecil  De  Mille  can  do  when  he  starts,  the  heights  to 
which  he  can  carry  even  the  incompetent.  But  he  did  it  by 
labor  and  by  violence  and  by  fear,  and  by  a  complete  psycho- 
logical understanding  of  the  feminine  mind. 

He  seldom  raises  his  voice.    He  doesn't  have  to. 

He  has  created  more  stars  than  any  other  director  who  ever 
lived,  brought  out  more  lasting  and  effective  personalities.  He 
is  generous  in  his  praise — when  it  is  gained.  But  he  is  without 
consideration  of  any  kind  for  himself  or  others  when  work  is  to 
be  done.  Lunch,  dinner,  sleep,  rest,  heat,  cold — trivial  nothings 
to  be  ignored  when  an  objective  is  in  sight.  His  actors  know 
that  while  they  are  on  a  picture  with  him  they  cannot  make  one 
engagement,  count  upon  one  moment  of  free  time. 

William  is  epigrammatic — gentle,  patient.  He  has  a  com- 
mand of  English  even  more  powerful  than  his  brother's,  but  he 
uses  it  in  an  entirely  different  way.  He  will  spend  any  amount 
of  time  to  reason  with  an  actor,  to  convince  him  of  a  point,  to 
lead  him  step  by  step  up  the  place  where  that  actor  under- 
stands with  his  own  mind — if  he  has  one  at  all — the  very  small- 
est motive  and  thought  and  action  of  the  character  he  is  por- 
traying. 

He  is  exceedingly  unobtrusive  on  the  set.  His  idea  is  always 
to  help,  to  uplift,  to  explain,  to  guide,  to  incite  the  actor  to  see 
the  thing  for  himself  and  do  it  in  his  own  way.  Nothing  is  too 
much  trouble,  if  it  reassures  an  actor  and  makes  him  want  to  do 
a  thing  well. 

Actors  love  to  work  for  him.  No  matter  how  experienced  or 
how  clever  they  may  be,  they  always  come  away  from  William 
de  Mille  and  tell  the  wide  world  how  much  they  have  gained 
from  his  direction.  They  will  explain:  "Oh,  William  de  Mille 
taught  me  more  than  anyone  else  ever  has  since  I've  been 
acting.  It's  been  the  greatest  privilege  of  my  career  to  be 
with  him." 

And  yet  William  has  never  made  a  star,  though  he  has 
given  us  that  rarely  fine  and  human  artist,  Lois  Wilson. 


And  they  are  just  as  different  personally. 

I  happened  to  be  sitting  in  a  car  in  front  of  the  Lasky  studio 
one  day,  waiting  to  go  on  location  with  Agnes  Ayres." 

While  I  waited,  both  the  brothers  arrived  for  work. 

First,  William. 

In  the  little  old  Buick  roadster  whose  third  paint-job  has 
worn  a  bit  shabby  at  the  seams.  Some  of  the  cars  driven  by  the 
electricians  and  the  carpenters  put  it  to  shame.  A  dilapidated, 
but  somehow  friendly  little  car.  Descended  William,  wearing 
the  inevitable  crush  hat — the  one  that  always  looks  the  same. 
A  pair  of  ancient  and  venerable  golf  trousers.  A  soft  shirt  of 
no  particular  style  nor  vintage.  In  one  hand  he  carried  a  pair 
of  shoes  that  looked  as  though  his  wife  had  asked  him  to  take 
them  to  the  shoemaker's  to  be  half-soled.  In  the  other,  a 
tennis  racket. 

He  made  his  quiet  way  through  the  group  of  extras  and  van- 
ished into  the  studio. 

Half  an  hour  later,  Cecil  arrived.    It  was  an  arrival. 

The  rich  purr  of  his  motor  filled  the  air. 

His  gorgeous,  custom-built  Locomobile,  that  cost  something 
over  $15,000,  swung  into  the  place  at  the  curb  that  is  marked, 
"Do  Not  Park  Here."  Its  exquisite  gray  finish  and  red  patent 
leather  cushions  gleamed  in  the  sunshine.  The  uniformed 
chauffeur  sprang  down  and  flung  open  the  door.  Mr.  De  Mille, 
immaculate  and  impressive,  in  the  smartest  of  riding  breeches 
and  the  most  luminous  of  puttees,  the  most  correct  of  silk  sport 
shirts  and  the  most  dashing  of  cloth  hats,  stepped  out. 

The  crowd  at  the  door  parted,  staring  awestruck. 

With  that  almost  military  swing  of  his,  Cecil  De  Mille  strode 
to  his  office. 

And  their  offices! 

Cecil's — with  its  cathedral,  stained-glass  windows,  its  mag- 
nificent tiger  skins,  its  stunning  and  bizarre  decorations,  its 
giant  swordfish  which  he  caught  himself. 

William's — book-lined  and  worn,  with  deep  leather  chairs 
that  show  the  marks  of  many  shoulders,  wide  window  seats  that 
invite  you  to  sprawl  upon  them,  little-paned  dormer  windows. 

There  is  another  trifle  that  comes     [  continued  on  page  127  ] 

51 


How 

the  Picture  is 
Made 


&flft  Mm  1  lBM 

■ 

■ 

SBBa 

JHfl 

iHP^ 

■                                  WH 

j««'*?a|!-x. 

I  /                           |    1 

27(e  technical  director,  usually  an  architect  with  a  knowledge 

of  period  construction,  maps  out  the  plans  for  the  sets.     He 

is  shown  here  in  consultation  with  the  chief  carpenter,  who 

will  supervise  the  actual  building  of  the  sets 


The  fust  step  in  the  production  of  a  photoplay  is  the  prepara- 
tion of  the  scenario,  knoicn  in  the  studio  as  the  script.     Here 
is  the  scenario  chief 


The  art  director  supervises  the  details  and  "dressing"  of  the 
sets.  He  is  generally  a  man  with  wide  experience  in  interior 
decoration.  The  man  in  the  cap  is  the  assistant  director,  who 
has  charge  of  the  entire  company  in  matters  of  transportation, 
housing  and  other  arrangements  when  on  location 


The  casting  director  engages  the  players,  selecting  the  types 
desired  from  the  hundreds  of  names,  addresses  and  photo- 
graphs which  he  has  on  file.  For  the  principal  characters, 
the  casting  director  usually  interviews  players  selected  by 
the  director  himself.  The  filling  of  the  minor  roles  is  left 
to  his  discretion 

62 


The  lighting  of  a  set  is  one  of  the  most  important  details  of  a 
production.  Here  is  the  lighting  expert,  instructing  one  of 
the  electricians  in  the  best  way  to  get  an  "effect."  Much 
experimentation  is  usually  necessary  before  the  proper  result 
is  attained 


m 


Musicians  are  used  during  emotional  scenes  to  put  actors  into 
the  proper  mood  and  to  work  up  climaxes.  Music  hath 
charms,  it  seems,  not  only  to  soothe,  but  to  excite  to  emotion. 
Here  is  Mr.  Neilan  leading  his  orchestra  and  directing  a  scene 


TIT 

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Bil 

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1 

.A/fer  the  film  has  been  developed  it  is  sent  to  the  drying  room. 
Here  it  is  wound  on  large,  skeleton  drums  which  are  revolved 
until  the  film  is  thoroughly  dry.  It  is  then  wound  on  smaller 
reels  for  convenience  in  handling,  and,  sent  to  the  film,  editor, 
who  has  it  run  in  the  projection  room,  selecting  the  best  scenes 


From  the  film  editor,  the  film  goes  to  the  cutter.  He  chops 
a p  the  long  strips  oj  celluloid,  cutting  out  the  scenes  selected  by 
the  film  editor,  pasting  them  together  in  their  proper  order 
and  inserting  the  titles.  When  he  has  completed  his  work, 
the  picture  is  ready  to  be  shown 


'And  here  is  the  "chief" — 
Marshall  Neilan  himself — 
directing  a  scene.  He  is  the 
person  who  knows  "what  all 
the  shootin'  is  for'' 


With  the  picture  ready  for  the 
market,  it  is  necessary  to  tell 
the  public  about  it.     So  here 
is  the  publicity  man,  the  fa- 
mous Pete  Smith,  with  dark 
glasses,     cigarette     'n ' 
everything,  seated  at  his 
favorite     typewriter    to 
inform     a     palpitating 
world  of  picture  "fans" 
wonders  they  are  to  see 


The  "shooting  squad"  ready  for  irork — two  camera  men,  an 
assistant  camera  man,  and  the  continuity  clerk.  The  slate 
laid  by  the  assistant  bears  a  different  number  for  each  scene 
nntl  is  photographed  at  the  end  of  each  "take"  to  facilitati 
ha  Hilling  and  assembling  in  the  cutting  room.  The  continuity 
clerk  keeps  a  detailed  record  of  each  scene.  She  knows  how 
the  players  enter  and  exit,  how  they  are  dressed  and  every 
minor  detail.  These  are  important  because,  when  the  scene 
is  continued  the  next  day  or  next  week,  every  detail  mvxt 
correspond 

53 


First  of  all,  Enid  Ben- 
nett's bedroom — for  a  bou- 
doir is  often  the  key  to  a 
personality!  As  English 
as  the  name  she  bears,  with 
its  figured  wall  paper  and 
chintz — its  white  enamel 
and  pastel  tints  and  dark 
polished  floor.  Charming 
and  dainty  and — above  all 
— cheerful 


"There  isn't  anything  architecturally 

or  artistically  correct  about  the  place," 
says  Fred  Niblo,  "it's  just  to  live  in!" 
Perhaps  that  is  the  answer  to  the  de- 
lightful informality  of  this  drawing 
room.  Colorful,  it  is,  with  shadings 
of  gold,  rose  and  tan.  And  highly  fin- 
ished mahogany  woodwork 


5h 


The  fish  pond.  Not  the  sort  thai  they 
have  at  charity  bazaars;  a  real  one! 
Mr.  Niblo  wants  to  turn  it  into  a 
swimming  pool  but  his  wife  doesn't 
want  to  deprive  the  fish  of  a  home. 
You  see  her  caught  in  the  act  of  plead- 
ing for  th  e  fish .  "  Let  them  stay,  "she 
saijs,  with  her  Maid  Marian  smile, 
"please.'" 


m 


Mr.  and  Mrs.  Niblo  and  the  chow,  who  boasts  the  age  old  name  of  "Buddha,"  on  the  velvet  smooth 
lawn  in  front  of  their  Beverly  Hills  home.  Typically  Calif ornian,  of  grey  plaster  with  a  red-tiled 
roof.    And  three  acres  of  ground.    A  happy  looking  home,  certainly — and  one  that  shelters  happiness! 


Just 

a 

House 
to 

Live 

in 


The  side  porch.    A  favorite  lounging  place  for  everybody  in  the  family — including 

year  old  Miss  Niblo,  who  is  usually  too  busy  to  do  much  lounging!    A  comfy  nook 

that  whispers  of  a  good  book,  and  a  drowsy  summer  afternoon  with  the  heat  of  Ihfi 

sun  quite  shut  away  by  the  cheerful  striped  awning* 


Alice'Sit-by'the'Fire 

By  Ada  Patterson 


©Underv.oo'i  .\;  L'mlcrvvood 


Alice  Bradu  in  ifu 
breakfast  porch  of 
her  beautiful  Lcikj 
Island  home  and, 
(above)  with  her 
eighteen-months- 
old  son,  Donald 
Crane,in  the  swim- 
ming pool 


SHE  used  to  remind  me  of  a  brilliant  humming-bird, 
beautifully  iridescent  in  the  sunlight  of  public  approval, 
which  was  always  hers.  She  was  so  swift,  so  sparkling, 
so  fascinating.  She  was  beautiful,  even  in  repose,  but 
when  she  smiled — that  Alice  Brady  Irish  grin — she  was  irresis- 
tible. 

But  now,  even  though  she  is  the  star  in  one  of  the  greatest 
Broadway  successes  of  the  season,  the  brilliance  is  gone.  The 
same  sunlight  is  there,  but  there  is  no  iridescence.  She  is  still 
fascinating,  but  with  a  different  lure.  The  sparkle  has 
departed. 

Why?  Only  she  knows.  She  has  youth,  beauty,  charm, 
talent,  fortune — and  her  son.  She  is  a  star  and  favorite  of 
both  stage  and  screen.  Why  has  a  mist  overshadowed  all  the 
former  brilliance? 

"Nowadays  I  'sparkle,'  as  you  call  it,  only  when  I'm  tired," 
she  said,  rather  listlessly.  "I'm  nervous,  I  guess.  My  sparkle 
seems  to  be  hysteria  rather  than  any  natural  vivacity." 

Her  hands — Alice  Brady  has  beautiful,  expressive  hands — 
were  folded  wearily  in  her  lap. 

"I  don't  seem  to  care  much  for  anything  lately." 

"Clothes?"  I  suggested. 

"  Not  even  clothes,"  she  said.  "  I  used  to  love  pretty  things, 
but  now  I  would  be  willing  to  have  just  one  dress  and  sit  at 
home  and  do  nothing.  I  don't  seem  to  have  my  old  ambition," 
and  the  dark  eyes  looked  dreamily  out  over  the  garden  of  her 
beautiful  Long  Island  home. 

It  was  hard  to  recognize  in  this  girl  of  undertones  and  minor 
chords  the  vivid  Alice  Brady  of  only  a  year  or  two  ago.  Then 
she  commanded  attention.  You  could  no  more  resist  looking 
at  her  than  you  could  overlook  a  bright  light  suddenly  flashed 
into  your  eyes. 

There  is  at  least  one  other  person  besides  Alice  herself  who 
knows  the  reason  for  the  change.  [  continued  on  page  115  ] 


©Underwood  &  Underwood 

56 


CLOSE-UPS 


PROFESSIONAL  JEALOUSY:  A  reader 
gently  remonstrates  with  me  for  my 
attitude  toward  Latin  lovers.   She  writes: 

"I  just  love  your  column,  but  don't  you  think 
sometimes  you  are  just  a  wee  bit  caustic,  espe- 
cially when  speaking  of  Rodolph  Valentino,  Ra- 
mon Novarro  and  Ivor  Novello?  Are  they  to 
blame  because  they  have  beautiful  faces  and 
appeal  to  the  fair  sex?" 

I  don't  say  they  are  to  blame,  but,  on  the 
other  hand,  am  I  to  blame  for  being  just  a  wee 
bit  jealous?  They  say  Gloria  Swanson  was 
jealous  of  Pola  Negri,  and  that  Eva  Tanguay 
bitterly  resents  the  coming  of  Eleanora  Duse. 
It  is  hard  for  us  American  artists  to  sit  by  and 
see  these  foreigners  romp  away  with  the  glory 
and  the  gold  supply. 

However,  now  that  Ivor  and  Rudie  are  in 
Europe  and  Ramon  is  growing  a  moustache,  I 
don't  feel  so  bitter.  As  a  matter  of  fact  I  have 
tried  to  make  it  a  point  to  praise  everyone 
whose  name  ends  in  "o,"  because  I  am  part 
Latin  myself,  my  middle  name  being  Riley. 

Mary  Vs.  Pola:  Two  famous  actresses  will 
match  weapons  on  the  silver  field  of  honor  by 
playing  the  same  character.  Mary  Pickford  as 
Rosita,  Pola  Negri  as  The  Spanish  Dancer. 
The  two  pictures  are  from  the  same  story. 


Deciding  that  the  public  had  tired  of  the  be- 
(urled  Pollyanna  Pickford,  Mary  determined  to 
do  something  radically  and  crucially  different. 
She  chose  "Rosita,"  the  story  of  a  Spanish 
dancer,  little  dreaming  that  fate  had  scheduled 
Pola  for  the  same  role. 

A  lady  close  to  the  throne  informs  me  that 
Mary  is  trembling  in  her  slippers.  Recalling 
Pola  as  the  matchless  gypsy  of  "  Gypsy  Blood," 
I  said  that  I  knew  the  one  I  was  betting  on. 

"Yes,"  said  my  informant,  "and  Mary  is 
betting  on  the  same  one." 

Hollywood,  Sept.  12:  As  soon  as  you  arrive 
in  this  city  of  sex  attraction  they  ask  you 
whether  you  came  out  to  play  Ben  Hur  or 
to  take  Valentino's  place.  I  modestly  said, 
"Both."  You  might  as  well  —  they'll  suspect 
you  anyhow. 

Inquiry  at  Goldwyn  assured  me  that  I  had 
been  considered  for  Ben  Hur,  being  still  under 
sixty  and  unable  to  speak  English  well.  I'm 
No.  21,341  on  the  list,  which  puts  me  next  in 
line  to  Little  Farina.  Little  Farina  is  of  a  more 
intense  Latin  type,  but  somewhat  lacking  in 
the  spiritual  appeal  needed  for  the  later  scenes. 

As  for  taking  Valentino's  place,  I  find  there 
isn't  even  standing  room  left.  There  are  more 
sheiks  here  than  in  the  Sahara. 

I  must  say  the  chances  of  a  beginner  out  here 
are  not  as  rosy  as  Rex  and  Cecil  led  me  to 
expect.  Neither  has  discovered  me,  though  Rex 
did  buy  a  lunch,  after  which  he  complimented 
me  warmly  upon  my  ability,  declaring  that 
neither  Valentino  nor  Novarro  ever  displayed 
such  a  remarkable  appetite. 

Whenever  a  beginner  is  downhearted  he  can 
go  to  one  of  the  casting  agents  along  the  boule- 
vard, who,  with  the  real  estate  agents,  com- 
prise the  majority  of  the  population.  Agents 
always  cheer  one  with  glittering  prospects. 

I  was  considered  by  them  for  the  leading  role 
in  "The  Thief  of  Bagdad,"  but  I  refused  to 


6?  LONG 
SHOTS 

By  Herbert  Howe 


wear  the  immodest  costumes,  so  Douglas  Fair- 
banks got  it.  Anyhow,  I  didn't  feel  I  could 
afford  to  remain  off  screen  for  the  six  months  it 
would  take  to  make  the  picture. 

There  are  so  many  things  for  a  beginner  to 
consider. 

You  can't  expect  to  jump  in  immediately. 
Thus  far,  I've  only  been  able  to  get  my  hat  in. 
Malcolm  McGregor  carries  it  in  "You  Can't 
Get  Away  With  It."  Thus,  I'm  working  in  bit 
by  bit.  Bull  Montana  wants  to  engage  one  of 
my  neckties  for  a  forthcoming  comedy.  But 
I'm  not  going  to  accept  unless  I  get  screen 
credit,  which  I  did  not  get  for  my  hat.  These 
unscrupulous  producers  will  strip  you  of  every- 
thing and  let  you  go  around  in  a  barrel  before 
they  will  give  you  as  much  as  screen  credit, 
unless  you  put  up  a  fight. 

I  will  give  further  tips  to  beginners  out  of  my 
own  experiences  from  time  to  time.  In  the 
meantime,  I  strongly  advise  them  to  bring  big 
wardrobes.  After  all,  it's  clothes  that  make 
the  leading  man. 

And  The  Bastille  Fell:  During  the  French 
revolutionary  scenes  of  "  Scaramouche "  the 
orchestra  on  the  set  played  "La  Marseillaise" 
without  cessation.  Standing  it  as  long  as  he 
could,  Rex  Ingram  finally  sobbed  out:  "For 
the  love  of  God,  will  you  play  something  Irish?" 
Whereupon  the  French  mob  came  sweeping 
through  the  Paris  streets  to  the  tune  of  "Back 
to  Erin." 


France    Scores    Another 
Victory 

We  Award  the  Star  of  the 
Month  To— 


The  Lady  From  Lille— 

MLLE.  RENEE  ADOREE 

Because  of  the  emotional 
kick  and  champagne  ebul- 
lience with  which  she  charges 
Reginald   Barker's 

"77ie  Eternal  Struggle" 


Our   Immortals:    After   due  consideration, 

prayer  and  fasting  it  is  my  opinion  that  the 
screen  has  yielded  three  great  actresses: 

Pola  Negri, Lillian  Gish  and  Mabel  Normand. 

And  four  great  actors: 

Charles  Ray,  Charles  Chaplin,  Emil  Jann- 
ings  and  Jackie  Coogan. 

May  God  help  me! 

Players  For  Rent:  Produi  :ers  who  have  had 
experience  in  the  cloak  and  suit  trade  are  mak- 
ing a  handsome  profit  by  renting  out  players 
just  as  they  formerly  rented  out  dress  suits.  A 
young  man  under  contract  at  a  salary  of  thirty- 
five  a  week  (Yes,  they  get  'em  that  low)  is 
rented  out  at  four  hundred,  the  company  gob- 
bling all  the  profit  above  his  salary.  A  leading 
lady  under  contract  for  four  hundred  is  Ici^cd 
out  at  two  thousand.  Metro  pursues  the  fair 
policy  of  dividing  with  the  player  all  the  profit 
above  the  stipulated  salary. 

After  all,  this  does  not  seem  so  ruthless,  con- 
sidering that  a  lady  recently  rented  another 
lady's  husband  for  twenty-five  a  week.  When 
Will  Rogers  heard  of  this  he  rushed  home  and 
asked  his  wife  if  there  had  been  any  phone  calls. 
She  said  no,  so  Bill  is  sticking  to  pictures. 


Constancy,  Thy  Name  Is  Talmadge:  Com- 
menting upon  one  of  her  former  admirers, 
whose  name  is  legion,  Connie  Talmadge  says: 
"I  shall  never  forget  him,  because  I  liked  him 
as  well  as  any  man  I  have  ever  known.  He  was 
dark — if  I  remember  correctly  .  .  .  ." 

Watch  These!  There  is  going  to  be  a  revalua- 
tion of  players  within  the  next  six  months  or  a 
year.  Since  Pola  Negri  threw  a  bomb  into  our 
studio  camp — and  a  scare  into  our  non-acting 
stars — the  little  ladies  of  Hollywood  have  de- 
cided it  is  time  to  act.  And  some  who  have 
never  had  a  chance  before  are  trouping  mag- 
nificently. Personalities  are  tottering  before 
the  onslaught  of  actors  and  actresses.  Make  a 
special  note  to  see  the  following: 

Pola  Negri  in  "The  Spanish  Dancer." 

Ramon  Novarro  in  "Scaramouche." 

Antonio  Moreno  in  "The  Spanish  Dancer." 

Alice  Terry  in  "Scaramouche." 

Blanche  Sweet  in  "Anna  Christie"  and  "In 
The  Palace  of  The  King." 

Mabel  Normand  in  "The  Extra  Girl." 

Kdna  Purviancein      "A  Woman  of  Paris,'' 

directed  by  Chaplin. 

Anna  Q.  Nilsson  in  "Ponjola." 

Florence  Vidor  in  Ernst  Lubitsch's  next  pic- 
ture. 

Carmel  Myers  in  "The  Magic  Skin." 

Bessie  Love  in  "The  Eternal  Three"  and 
"The  Magic  Skin." 

Charles  Ray  in  "The  Courtship  of  Miles 
Standish." 

Knid  Bennett  in  "Strangers  of  the  Night" 
and  "The  Courtship  of  Miles  Standish." 

Mae  Busch  in  "Master  of  Man." 

Renec  Adoree  in  "The  Eternal  Struggle" 

Corinnc  Griffith  in  "Six  Days." 

Jackie  Coogan  in  "  Long  Live  The  King." 

67 


Seven    Lessons 
in    Success 

Here  you  are  told  how — 

Mae  Marsh  played  hooky  from  school 
and  went  chasing  butterflies  that  led  her 
into  Biograph  pictures  and  fame  as  a 
Griffith-made  star. 

The  Count  de  Beaufort,  an  advertising 
nobleman,  got  thrown  out  of  his  honey- 
moon into  the  motion  pictures  by  the 
strong  arm  of  his  father-in-law's  butler. 

Tom  Mix,  a  United  States  marshal, 
started  up  the  road  to  screen  fame  by 
galloping  through  an  Oklahoma  round-up 
on  a  mustang. 

John  Bunny  went  job-hunting  one  hot 
Summer  day  and  was  welcomed  into 
Yitagraph  on  "face  value"  alone. 

A  Funny  Undertaker  went  to  sleep  on 
a  bench  in  a  studio  yard  and  woke  up 
to  find  he  had  begun  his  screen  career  in 
his  sleep. 

A  Smart  Dog  got  her  master  a  job 
directing  motion  pictures  and  started  one 
of  the  interesting  screen  careers  of  today. 

A  Street  Car  Conductor  decided  he 
could  "put  it  over"  on  Biograph  as  a 
motion  picture  expert  from  Paris — and 
did  it,  becoming  a  pioneer  of  today's 
screen  comedy. 


The  Romantic 


Motion 


Biograph' 's  most  pretentious  effort  of  that  first  season  in  California 
was  " Ramona."    Mary  Pickford  was  the  leading  lady 


Chapter  XIX 

WHEN  the  murky  days  of  the  New  York  winter  of 
1909-10  settled  down,  the  producing  forces  of  the 
fighting  and  prospering  motion  picture  industry 
found  themselves  heavily  handicapped  by  weather. 

The  darkness  of  the  skies  fell  on  the  studios  and  locations  of 
the  Patents  company  and  the  Independents  alike. 

The  battles  over  cameras,  patents  and  film  were  futile  and 
empty  if  there  was  no  light  for  the  making  of  the  pictures.  This 
was  the  one  essential  of  the  art  that  the  Motion  Picture  Pat- 
ents company  could  not  own,  control  and  make  the  subject  of 
litigation.  The  whole  industry,  licensed  and  unlicensed,  was 
subject  to  the  intermittent  injunctions  of  the  clouds. 

In  its  hunger  for  sunshine  the  motion  picture  turned  toward 
Southern  California  and  the  Southwest.  The  coming  of  Los 
Angeles  as  the  center  of  American  picture  production  was  as 
inevitable  as  the  rise  of  the  steel  industry  in  the  coal  fields  of 
Pennsylvania,  the  electricity-consuming  carbide  industry  be- 
side the  cheap  hydro-electric  power  of  Niagara  Falls,  or  the 
pear]  shirt  button  factories  alongside  the  mussel  shell  beds  of 
the  Mississippi  River  at  Muscatine. 

Los  Angeles  offered  sunshine.  Almost  simultaneously,  a  num- 
ber of  motion  picture  expeditions  to  the  West  Coast  were  organ- 
ized and  put  under  way.  It  is  not  possible  to  point  to  any  single 
discoverer  of  California  sunshine  for  the  screen.  In  the  litera- 
ture and  traditions  of  the  motion  picture,  there  are  as  many  dis- 
coverers and  founders  of  "first  studios"  in  California  as  there 
are  discoverers  of  America  or  winners  of  the  World  War. 

It  is  certain  that  the  first  motion  picture  invasion  of  the  Los 


58 


Copyright,  1923,  by  Terry  Ramsaye 


History  of  the 
Picture 


By  Terry  Ramsaye 


Angeles  region  was  by  Thomas  Person  and  Francis  Boggs,  of  the 
Selig  organization,  in  1907,  as  has  been  related  in  an  earlier 
chapter,  but  there  is  no  evidence  that  this  was  an  influence  on 
the  general  movement  that  began  two  years  later. 

It  is  more  fitting  and  just  to  credit  the  California  golden  sun- 
shine rush  of  the  winter  of  '09  to  the  atmospheric  influence  of 
the  indefatigable  press  agents  and  propagandists  interested  in 
the  sale  of  tourist  railroad  tickets  and  navel  oranges. 

When  the  picture-makers  cast  about,  looking  for  a  way  out 
from  under  the  fogs  of  the  Hudson  river  and  Long  Island  Sound, 
they  were  brought  to  a  focus  by  the  din  of  advertising  about  the 
land  of  sunshine,  missions,  palm  trees  and  sunkissed  fruit. 

The  picture  market  was  unfolding  its  possibilities  at  a  dizzy 
rate,  both  in  the  United  States  and  abroad.  The  business  of  the 
motion  picture  could  no  longer  afford  to  wait  on  the  art  of  the 
motion  picture,  subject  to  the  whimsies  of  the  weather.  A  con- 
stant output  at  any  price  was  necessary. 

California  was  not  unanimously  elected  at  once.  There  was 
that  brief  excursion,  mentioned  earlier,  in  the  previous  winter 
of  '08-'09,  when  J.  Searle  Dawley  went  to  Cuba  with  the  Edison 
company,  Kalem  had  tried  a  fling  at  Florida,  and  Essanay  out 
in  Chicago  went  west  into  Colorado  to  make  some  "Broncho 
Billy"  wild  west  subjects. 

But  now,  with  the  exchanges  clamoring  for  film,  the  move- 
ment to  year-around  sunshine  and  California  began  in  earnest. 
Once  again  Selig  sent  Francis  Boggs  and  Tom  Persons  to  Los 
Angeles,  where  they  opened  a  studio  in  South  Olive  street, 
alleged  to  have  been  the  first  in  the  city.    New  York  Motion 


The  yard  of  the  Edandale  Studio,  where  much  romantic  history 

was  made.    It  may  look  primitive  now — but  then  it  was  a  stride 

ahead 


Picture,  the  Baumann-Kessel  organization  with  Fred  Balshofer 
in  charge,  went  out  to  Los  Angeles  and  rented  a  decayed  gro- 
cery store  for  its  headquarters. 

The  N.  Y.  M.  P.  stock  company  on  that  expedition  included 
J.  Barney  Sherry,  raided  away  from  Vitagraph;  Ethel  Graham; 
Fred  Gephart,  then  in  a  fair  way  to  fame  as  a  player  of  Indian 
roles;  Mona  Darkfeather,  a  circus  performer;  and  Charles 
French,  who  had  been  acquired  from  Biograph,  where,  by  the 
way,  he  had  the  distinction  of  playing  the  lead  in  the  picture  in 
which  D.  W.  Griffith  made  his  first  Biograph  appearance,  as  an 
extra. 

There  were,  incidentally,  other  and  more  obscure  reasons 
than  sunshine  for  the  N.Y.M.P.  move  to  California.  The  Patents 
company  was  pressing  this  conspicuous  independent  concern 
hard,  both  in  court  and  out. 


Mae  Marsh's  first  bit  was  in  a  Spanish  picture.    And  then  came  her 
big  chance  in  the  now  classic  "Sands  of  Dee" 


69 


An  impressive  Biograph  production  called  "Genesis  of  Man," 

with  Mae  Marsh  and  Bobby  Harron  doing  their  best  as  Adam 

and  Eve 


The  Independents  found  their  picture-making  operations 
hampered  by  strange  outbreaks  and  attacks.  Mysteriously  and 
disastrously,  their  developing  baths  became  contaminated  with 
chemicals  that  ruined  expensive  negatives  in  the  making.  Mes- 
sengers went  astray.  Cameras  disappeared  unless  guarded 
night  and  day. 

The  climax  came  with  one  of  the  New  York  Motion  Picture's 
operations  in  the  making  of  a  big  scene  at  Whitestone  Landing, 
on  Long  Island.  This  impressive  spectacle  called  for  a  total  of 
twenty  extra  people,  a  vast  army  for  that  time.  Just  as  the 
critical  drama  moment  in  the  scene  came,  a  riot  broke  out 
among  the  extras.  Rocks  and  clubs  and  fists  flew.  It  was  a 
fight  apparently  over  nothing.  Nine  of  the  extras  fought  to- 
gether as  a  clan.  When  the  dust  of  battle  settled,  they  were 
found  to  be  professional  gunmen  and  gangsters.  Some  mys- 
terious agency  had  sent  them  out  to  make  a  riot  instead  of  a 
picture.  Five  of  the  actors  went  to  the  hospital  out  of  that  en- 
gagement. 

Baumann  and  Kessel  could  play  a  hand  in  that  game  them- 
selves, but  it  seemed  about  as  well  to  put  the  insulation  of  a  few 
thousand  miles  between  their  producing  operations  and  the 
battle  fields  of  New  York.  There  were  anxious  days  in  the 
Baumann  and  Kessel  offices  while  the  first  picture  from  Cali- 
fornia was  awaited.  Ten  telegrams  were  exchanged  in  anxious 
inquiries  and  bulletins  from  Fred  Balshofer. 

It  was  probably  then  and  there  that  the  standard  motion  pic- 
ture rule  of  always  sending  a  telegram  when  a  letter  will  do 
was  established. 

When  the  negative  of  that  first  West  Coast  N.  Y.  M.  P.  was 
received,  Adam  Kessel  and  Charles  Baumann  sat  up  the  whole 
night,  editing  and  titling  it  for  release.  It  was  a  mighty  moment. 

Among  the  licensed  film  makers  in  the  East,  Griffith  of  Bio- 
graph led  the  way  West.  In  early  January,  of  1910,  he  moved 
his  company  to  Los  Angeles.  The  official  secret  of  Griffith's 
wedded  state  came  out  with  t  he  arrangement  for  that  excursion. 

60 


A  MAZING  and  whimsical  tales  of  the  flimsy, 
■*  Mairy  stuff  of  which  success  is  made  are 
included  in  this,  the  most  revealing  chapter  of 
our  exhaustive  annals  of  the  intricate  history  of 
the  art  of  the  motion  picture.  Here  we  get  in 
satisfying  measure  an  insight  into  the  strikingly 
dramatic  happenings  of  the  all  important  but 
little  known  days  of  '09  when  so  many  of  the 
careers  that  loom  upon  the  screen  in  fame  today 
began.  Here  the  wealth  of  personalities  that  make 
the  real  greatness  of  the  motion  picture  begins  to 
be  brought  to  light  in  abundance,  with  sidelights 
never  before  recorded,  save  in  the  reminiscences 
that  pass  in  the  conversations  of  the  few  who 
know.  All  this  has  been  gathered  together  and 
arrayed  in  authoritative,  entertaining  form  for 
Photoplay  readers  at  the  cost  of  more  than  two 
years  of  unrelenting  editorial  labor  and  investiga- 
tions that  have  taken  the  author  into  every  corner 
of  the  country  and  into  every  available  record. 
This  story  of  the  motion  picture  and  the  names 
it  has  made  is  something  of  an  ironic  reply  to 
"success"  writers  and  the  preachers  of  the  puritanic 
hard  work  formula  for  those  who  would  rise  to 
affluence  and  fame.  Read  here  to  find  the  slender 
threads  of  chance  on  which  many  of  the  great  of 
the  motion  picture  made  their  climb. 

James  R.  Quirk.  Editor. 


"Have  a  stateroom  for  me  and  Miss  Arvidson,"  Griffith  re- 
quested. Then  he  added  in  a  flush  of  haste,  "We're  married, 
you  know." 

"Yes,  I've  suspected  that  for  sometime,"  the  cashier  replied. 
Henry  Walthall,  Mary  Pickford,  Owen  Moore,  Jack  Pickford 
and  Tony  O'Sullivan  were  in  the  Biograph  California  party. 
Shortly  after,  Marion  Leonard  and  her  husband,  Stanner  E.  V. 
Taylor,  followed. 

In  Los  Angeles,  Griffith  rented  a  loft  in  which  to  store  prop- 
erties for  his  picture,  and  engaged  a  vacant  lot  at  Twelfth  and 
Georgia  streets  for  a  studio.  Tent  dressing  rooms  were  ranged 
around  the  edges. 

In  the  course  of  this  first  California  season,  Griffith  found 
something  of  a  lack  of  the  large  array  of  available  extra  people 
that  the  pictures  were  able  to  draw  upon  in  New  York  among 
the  unemployed  of  Broadway.  Casting  about  for  actors,  he 
sent  word  to  the  Oliver  Morosco  stock  company  that  Biograph 
could  offer  day-time  employment  to  extras. 

This  bit  of  casual  broadcasting  of  opportunity  was  the  agency 
that  brought  to  the  screen  the  now  famous  name  of  Marsh.  In 
the  current  Morosco  production,  Marguerite  Marsh,  oldest 
daughter  of  a  family  of  five,  was  appearing  in  a  song  number, 
"  My  Gal  Irene,"  with  Charles  Ruggles.  Marguerite  was  help- 
ing her  mother,  Mrs.  Mae  Marsh,  a  widow,  with  the  growing 
cares  of  the  family.  All  of  the  rest  of  the  children  were  in  school. 
She  was  a  plucky  and  resourceful  person.  She  had  suffered  the 
loss  of  her  home  in  the  disaster  that  San  Francisco  mentions 
only  as  "The  Fire,"  and  now  she  was  in  Los  Angeles,  running  a 
hotel.  Marguerite  reported  on  the  Biograph  lot  and  was  cast 
for  a  part  in  "The  Mender  of  Nets,"  a  story  written  for  the 
screen  by  Edwin  August.  This  was  in  the  season  of  '09.  The 
next  winter,  when  Biograph  again  migrated  to  California  sun- 
shine, Marguerite  again  played  in  the  pictures.  Her  little  sister 
Mae,  chafing  with  the  irksomeness  of  school  books,  was  vastly 
enamoured  of  the  wonders  of  her  big  sister's  exploits  on  stage  and 
screen. 

Mae  confided  to  her  mother  that  she  had  decided  that  she 
would  be  either  a  great  actress  or  a  queen.    For  a  while  it  looked 


One  of  the  first  sets  at  Edandale.    An 
interior  with  a  goodly  company  of  to- 
be  stars  in  the  foreground 


as  if  queening  would  be  it.  On  holidays 
away  from  school,  Mae  upset  the 
household  by  organizing  the  children 
of  the  neighborhood  into  a  royal  court, 
which  bowed  and  made  obeisance  at 
her  imperious  command. 

But,  after  all,  there  did  not  seem  to 
be  any  very  good  opening  in  the  queen 
business  in  Los  Angeles.  Mae  decided 
to  look  into  the  actress  situation.  She 
played  hooky  from  school  and  ran 
away  to  the  location  where  the  Bio- 
graph  was  at  work,  where  she  surprised 
and  annoyed  sister  Marguerite  consid- 
erably by  her  truancy. 

Mae  stood  about  in  open-mouthed 
wonder  for  a  while,  watching  the  mys- 
terious  camera,  before  Marguerite   discovered   her   presence. 

"You  go  back  to  school  this  minute — I'll  tell  mother." 

Mae  made  a  face  and  scampered  away.  This  acting  thing  did 
not  look  so  very  exciting — maybe  it  would  be  more  fun  to 
catch  butterflies. 

The  little  runaway  was  engaged  in  turning  over  rocks  looking 
for  interesting  bugs,  when  she  caught  the  eye  of  Dorothy  Ber- 
nard, of  the  Biograph  stock  company.  Miss  Bernard  called  to 
Griffith. 

"See  that  cute  kid — she  looks  a  lot  like  Billie  Burke." 

Mae  was  oblivious  to  impending  destiny.  She  was  absorbed 
in  the  wiggles  and  kicks  of  a  particularly  large  and  entrancing 
beetle  she  had  found  in  the  grass.  She  looked  up  with  her 
bewitching  Irish  smile. 

"She  does,  at  that,"  Griffith  replied  to  Miss  Bernard.  "Call 
her  over.    Maybe  we  can  give  her  a  part." 

Mae's  first  bit  was  in  a  Spanish  picture,  and  then  came  the 


The  theater  men  and  their  audiences 
wanted  Indians  and  action.    And  so 
Mono    Darkfeather,    a    circus    per- 
former, was  engaged 


now  classic  "Sands  of  Dee"  and  "Man's 
Genesis."  "  Man's  Genesis  "  was  a  one- 
reel  drama  of  the  cave  man  age.  It  is 
interesting  as  an  early  expression  of 
the  experimental  curiosity  about  hu- 
man affairs  and  social  organization 
which  so  frequently  is  the  thematic 
undercurrent  of  Griffith  dramas. 

These  California  excursions  of  Bio- 
graph and  seasonal  trips  of  the  various 
other  concerns  were  without  any  con- 
sciousness of  establishing  a  new  seat  of 
industry.  All  of  their  California  plans 
and  arrangements  were  temporary  and 
transient.  The  motion  picture  was  not 
yet  ready  to  make  an  investment  in 
California  and  its  sunshine.  Back  of 
the  studio  operations  and  the  art  of 
picture-making,  the  business  of  the 
motion  picture,  officed  in  New  York, 
was  sitting  in  suspended  judgment.  It 
was  not  at  all  certain  in  the  mind  of 
any  man  in  the  motion  picture  business  that  it  was  a  permanent 
institution.  Newspapers,  inspired  considerably  by  jealous 
theatrical  magnates,  talked  casually  of  the  motion  picture 
craze  as  one  of  the  passing  whims  of  the  public.  Something  of 
this  attitude  crept  into  the  expression  of  the  trade  press  of  the 
screen. 

Despite  the  reminiscences  of  foresight  so  often  quoted  today, 
no  one  in  1909  had  a  vision  of  the  motion  picture  of  1923. 
Every  motion  picture  enterprise  of  the  day  was  conducted  like 
a  placer  mine,  with  a  minimum  of  investment  and  with  as  large 
a  proportion  of  the  proceeds  taken  out  of  the  business  as  was 
possible.  The  motion  picture  took  thought  for  its  future  on 
about  the  same  provident  terms  as  a  Fiji  Islander  cracking 
cocoanuts  on  a  coral  beach.  No  one  thought  much  of  the  mo- 
tion picture  and  the  motion  picture  did  not  think  much  of  itself. 
The  money  was  coming.  That  was  all  that  was  certain.  It  had 
come  quickly — perhaps  it  would  [  continued  on  page  i  20 1 

61 


Introducing  Mr.  and  Mrs.  James  Kirkwood 


OF  course,  neither  of  them  needs  an  introduction,  really! 
For  Lila  Lee  Kirkwood,  although  she  is  only  eighteen  years 
old.  has  had  a  long  and  interesting  career — both  upon  the  stage 
and  on  the  screen.  And  James  Kirkwood  is  one  of  our  foremost 
dramatic  actors.     He  left  the  leading  role  in  the  Broadway 


success,  "The  Fool,"  to  be  the  hero  of  "Human  Wreckage" — 
Mrs.  Wallace  Reid's  anti-narcotic  picture.  And  he  finished 
"  Human  Wreckage  "  just  in  time  to  co-star  with  Lila  in  a  drama 
of  married  life.  A  few  years  ago,  on  the  stage,  the  present  Mrs. 
Kirkwood  was  known  as  "Cuddles."    Do  you  wonder? 


62 


June  Mathis  at  her 
desk  in  the  scenario 
department  and 
(above)  as  she  ap- 
peared in  ingenue 
roles  on  the  stage 


The  "Million  Dollar  Girl" 


SHE  discovered  Rodolph  Valentino. 
She  has  been  selected  above  all  others  to  make  the 
scenario  of  "Ben-Hur. " 
She  is  so  valuable  a  person  that  a  picture  corporation 
has  insured  her  life  and  continuous  power  of  service  for  one 
million  dollars.  Pretty  good  for  a  girl  who,  only  a  short  time 
ago,  was  a  modest  little  ingenue  who  played  minor  roles  in 
"Brewster's  Millions"  and  in  "The  Fascinating  Widow"  with 
Julian  Eltinge.  But  that's  what  June  Mathis  has  done  for 
herself  by  her  brain  and  her  gift  for  story-telling. 

She  is  a  natural  story-teller,  this  quiet,  charming  woman. 
That's  the  way  she  first  started  to  write  scenarios.  She  was 
telling  a  story  to  the  company  on  a  train  one  day  and  a  motion 
picture  director  overheard  her.  He  stayed  to  the  end,  as  deeply 
interested  in  the  story  and  the  teller  as  any  of  her  auditors. 
The  way  she  told  the  story,  he  said,  made  him  see  every  inci- 
dent, every  scene.     When  she  had  finished,  he  said  to  her: — 

"You  ought  to  write  scenarios." 

"I'd  like  to,"  she  replied,  and  so  she  did. 

For  a  year  she  studied  scenario  writing.    Her  first  really  big 


picture  was  "The  Four  Horsemen  of  the  Apocalypse."  She 
lets  nothing  stand  in  the  way  of  her  work,  as  Ibanez,  the  author 
of  that  story,  can  testify,  for  she  made  what  was  almost  a 
forcible  entry  into  his  rooms  to  discuss  mooted  points  with  him. 

She  went  to  Hollywood.  One  day  she  saw  a  young  Italian 
who  seemed  to  be  having  some  difficulty  in  adjusting  himself 
to  conditions.  She  took  an  interest  in  him  and  watched  his 
work.  She  decided  that  he  was  the  man  to  play  Julio  in  the 
"Four  Horsemen"  and  she  put  him  over —  against  the  opposi- 
tion of  almost  every  official  of  the  company.  The  result  shows 
how  sure  is  her  judgment. 

When  her  company  secured  the  rights  to  "Ben-Hur,"  she 
had  attained  a  position  among  scenario  writers  that  made  her 
the  logical  selection  to  do  this  script.  And  there  isn't  the  least 
doubt  that,  in  her  capable  hands,  "Ben-Hur"  as  a  picture  will 
be  as  great  as  it  has  been  on  the  stage  for  years. 

And  out  in  Hollywood  now  they  call  her  "the  million-dollar 
girl."  That's  a  far  cry  from  the  little  girl  who  came  out  of 
Utah  to  be  the  ingenue  with  William  Hodge  in  "Eighteen 
Miles  from  Home." 

63 


Around  the  World  in 
Eighty  Minutes 


IT  used  to  be  eighty  days.  Next,  eighteen  days  was  declared  a  possibility. 
But,  by  auto,  you  can  now  touch  all  the  famous  cities  of  the  world  in  eighty 
minutes.  Starting  at  New  York,  you  can  go  to  London,  Paris,  Monte  Carlo, 
Venice,  Russia,  Egypt,  Africa,  the  South  Seas,  India,  China,  Japan,  San 
Francisco,  the  Rockies,  "Main  Street,"  and  back  to  New  York.  That's  the 
trip  you  can  make — as  our  camera  records — in  Hollywood,  in  eighty  minutes. 


A  street  in  New  York's  lower  east  side.     Just 

bordering  on  the  slums — '""/  built,  on  the  Lasky 

lot.  for  "  A  Prince  There  Was" 


The  interior  of  the  house  of  Parliament.  From 
"The  Masquer ader."  An  exact  duplicate  of 
the  rent  one,  even  to  the  detail  of  the  carving 

At  left.  Reproduction  of  the  Notre  Dame 
Cathedral,  Paris.  ''The  Hunchback  of  Notre 
Dome"  is  responsible  for  this  mimic  grandeur 


Left,  above.  Monte  Carlo!  Romance 
and  ruin,  money  lost  and  money 
gained.  The  world's  playground  was 
built,  in  Hollywood,  for  "Foolish 
Wives" 

Right,  above.  Venice  by  moonlight. 
This  set  from  "Bella  Donna"  is  so 
meltingly  lovely  that  one  can  almost 
hear  the  sound  of  soft  little  waves  as 
they  lap  against  the  marble  steps 

At  left.  Red  Russia.  Drab  grey 
buildings  against  a  background  of 
smoky  twilight  and  sullen  flame. 
This  is  from  "Bavu,"  in  which 
Wallace  Beery  was  starred 

At  right.  An  oasis  in  the  Sahara, 
with  a  crumbling  old  mission  seen 
across  a  pool  of  life-giving  water. 
Created  for  George  Melford's  "Burn- 
ing Sands" 


64- 


Rex  Ingram   planned  this  setting  for  his 
picture  of  the  South  Seas,  "Where  the  Pave- 
ment Ends."     Notice  the  dugout  canoe 


And  now  India.  A  street  scene  and  a  typi- 
cal street  crowd.  The  color  and  mystery  of  the 
Orient.     From  "  The  Price  of  Redemption  " 


It  was  for  Nazimova's ' '  The 
Red  Lantern"  that  this  bit 
of  China  was  built.  A 
fragment  of  a  far-off  city 


A  Japanese  garden.  Poetry  might  be  writ- 
ten to  the  music  of  the  artificial  brook.  Used 
by   Viola   Dana  in   "The   Willow   Tree" 


Intrigue  and  passion.  Slinking  dark  shadows 
against  dingy  brick  walls.  San  Francisco' s 
Chinatown,  as  reproduced  in  "Basils  West" 


*rwv  *  nr-wT 


rrwwww  w  w  ir»  n 


r»  »  ■*  w  t 


Main  Street — a  set  that  was  starred  in  the  picture 
of  tin-  same  name.    A  true  expression  of  our  small- 
town life.    All  America  can  claim  this! 


The  majestic  Rockies — 
painted,  upon  a  glass 
screen,  in  "The  Girl  of 
the  Golden  West."  The 
snow  clad  peaks  only 
seem  to  tower 


And,  last  of  all,  a  reproduction  of  the  interior  of  the 

Grand  Central  Station,  New  York.     The  picture  it 

appeared  in  is  "If  You  Believe  It,  It's  So"! 

65 


"Among 
Those  Present 


Notables  as  seen  by  Ralph  Barton 

at  the  premiere  of  Marion  Davies 

in  "Little  Old  New  YorJf 


11 


1 — Victor  Herbert 

2 — Rida  Johnson  Young 

3— Luther  Reed 

4  —Martin  Beck 

5 — A.  L.  Erlanger 

6 — Arthur  Somers  Roche 

7 — Harrison  Fisher 

8 — Norman  Hapgood 

9 — John  Drew 
10 — Anne  Morgan 
11 — Elizabeth  Marbury 
12— Elsie  de  Wolfe 
13 — Charles  Daria  Gibson 
14 — Dean  Cornwell 
15 — Bayard  Veiler 
1 6 — William  Le  Baron 
17— Harriette  Underhill 
18 — Raymond  Hitchcock 
19 — Rupert  Hughes 
20 — Louella  O.  Parsons 
21 — Rachel  Crothers 
22 — James  Montgomery  Flagg 
23 — Grover  Whalen 
24 — Hon.  John  F.  Hylan 
25 — Marion  Davies 
26 — Frank  R.  Adams 
27 — Daniel  Frohman 
28 — Messmore  Kendall 
29 — David  Belasco 
30 — Deems  Taylor 
31 — George  D'Utassy 
32 — Frank  Crowninshield 
33 — Lilian  Gish 
34— David  Wark  Griffith 
35 — Dorothy  Gish 
36 — Hartley  Manners 
37— Laurette  Taylor 
38 — Irene  Bordoni 
39 — William  Frederick  Peters 


40— Will  Hays 

78- 

— Morris  Gest 

116- 

-Mrs.  Biddle  Duke 

41 — John  Emerson 

79- 

—Samuel  Goldwyn 

117- 

—Nicholas  Longworth  V 

42 — Anita  Loos 

80- 

—Sam  H.  Harris 

118- 

—Mrs.  Nicholas  Longworth 

43 — Joseph  Urban 

81- 

—Jacob  Ben-Ami 

119- 

—Grace  George 

44 — Ethel  Barrymorc 

82- 

-Billie  Burke' 

120- 

-William  A.  Brady 

45 — Marcus  Loew 

83- 

— Florenz  Ziegfeld 

121- 

-Blanche  Bates 

46 — Fannie  Hurst 

84- 

-A.  D.  Lasker 

122- 

—George  Creel 

47 — Kelcey  Allen 

85- 

-George  Jean  Nathan 

123- 

-Christopher  Morley 

48— Nita  Naldi 

86- 

-Scott  Fitzgerald 

124- 

-Mrs.  O.  H.  P.  Belmont 

49 — George  Palmer  Putnam 

87- 

—Louis  Joseph  Vance 

125- 

-Arthur  Brisbane 

50 — George  M.  Cohan 

88- 

—Vincent  Astor 

126- 

—William  Randolph  Hearst 

51 — Alma  Rubens 

89- 

-Al  Jolson 

127- 

-Elsie  Ferguson 

52 — Don  Marquis 

90- 

-Montague  Glass 

128- 

-Lillian  Albertson  MacLoon 

53— Rex  Beach 

91 

-Henry  Blackman  Sells 

129- 

-Irene  Castle 

54 — Elsie  Janis 

92- 

-Charles  Hanson  Towne 

130- 

-W.  T.  Benda 

55 — S.  Jay  Kaufman 

93- 

-Irvin  S.  Cobb 

131- 

-Murray  Paul 

56 — Allan  Dwan 

94- 

-Ring  Lardner 

"Cholly  Knickerbocker" 

57 — Rav  Long 

95- 

-J.  J.  Shubert 

132- 

-Lynn  Fontaine 

58— Dr.  Frank  Crane 

96- 

-Lee  Shubert 

133- 

-Alfred  Lunt 

59— O.  O.  Mclntyre 

97- 

-Adolph  Zukor 

134- 

-Kenneth  MacGowun 

60 — Gloria  Swanson 

98- 

-A.  H.  Woods 

135- 

-William  Collier 

61 — Florence  Nash 

99- 

-Avery  Hopwood 

136- 

-Sam  Bernard 

62 — Glenn  Hunter 

100 

-Irving  Berlin 

137- 

-Mrs.  Turnbull  Oelrichs 

63 — George  S.  Kaufman 

101 

-Neysa  McMein 

138- 

-Ruth  Chatterton 

64 — Marc  Connelly 

102 

-Robert  C.  Benchley 

139- 

-Henry  Miller 

65 — Pirie  MacDonald 

103- 

-Franklin  P.  Adams 

140- 

-Stephen  Rathbun 

66 — Roland  Young 

104 

-Heywood  Broun 

141- 

-Carl  Van  Vechten 

67 — Percy  Hammond 

105- 

-Ruth  Hale 

142- 

-Fania  Marinoff 

68 — Gilda  Gray 

106- 

-"Zit" 

143- 

-Dudley  Field  Malone 

69 — James  R.  Quirk 

107- 

-Penrhyn  Stanlaws 

144- 

-Ludwig  Lewisohn 

70 — Robert  E.  Sherwood 

108- 

-Mrs.  Jerome  N.  Bonaparte 

145- 

-Reginald  Vanderbilt 

71— Alan  Dale 

109- 

-Arthur  Hornlow 

146- 

-Nicholas  Muray 

72 — Bebe  Daniels 

1  lo- 

-Mrs. Harry  P.  Whitney 

147- 

-Meredith  Nicholson 

73 — Alexander  Woollcott 

ll  1  - 

-Mrs.  Reginald  C.  Vanderbilt 

148- 

-Robert  W.  Chanler 

74 — Quinn  Martin 

[12- 

-Mrs.  Samuel  J.  Wagstaff 

149- 

-Charles  Dillingham 

75— Karl  Kitchen 

113- 

-Mrs.  Carroll  L.  Wainwright 

150- 

-John  Murray  Anderson 

76 — Lyn  Harding 

114- 

-Anna  Fitziu 

151- 

-M.  le  Due  de  Richelieu 

77 — Anita  Stewart 

115- 

-Howard  Chandler  Christy 

152- 

-La  Princess  Bourbon 

66 


Wesscr 


"FROM  the  "Follies"  to  the  enviable  position  of  le#ding-lady-in-chief  to  Tom 

Mix.     It's  some  flight!     But  Billie  Dove's  fledgling  wings  are  strong — and 

critics  say  that  they'll  carry  her  even  farther  upward   within   a  short  time 


ESTELLE  TAYLOR  as  Miriam  in  "The  Ten  Commandments 


TN  this  picture  Cecil  De  Mille  is  exceeding  even  his  own  record  for  magnitude. 
The  theme  of  his  production  for  Paramount  is  that  the  fundamental  laws 
handed  down  to  the  children  of  Israel  in  the  Ten  Commandments  are  fully  as 
applicable  to-day  as  in  ancient  times.  He  plans  to  depict,  with  dramatic  power, 
the  fact  that  the  Ten  Commandments  constitute  an  unchanged,  inescapable 
code  of  moral  laws  that  will  break  any  human  who  attempts  to  break  any  one  of 
them.  Sneaking  to  an  audience  far  greater  than  has  ever  been  reached  by  any 
sermon,  he  will  show  the  application  of  these  laws  to  life  in  the  Twentieth  century 


Keyes 


Keyes 


Keyes 


TPHE  above  scene  from  Cecil  De  Mille's  production  of  "The  Ten  Command- 
ments" depicts  Moses  with  the  vanguard  of  the  Israelites  grouped  about 
him,  pleading  to  the  Red  Sea  to  open  and  allow  them  to  pass  to  the  Promised 
Land.     Below   are  James  Neill   as  Aaron,   and  Theodore   Roberts  as  Moses 


Freulick 


REGINALD  DENNY  is  one  of  the  best  ex- 
amples of  "he-men"  on  the  screen.  Also  he 
has  a  triad  nature,  as  shown  here — Reg  Denny, 
athlete;  Mr.  Reginald  Denny,  society  man;  and 
Denny   the    battler    of   "The   Leather   Pushers" 


Mary's 
New  Role 


She's  growing  up,  at  last.  With  the  nitl 
of  laces  and  ribbons,  and  woman-length 
skirts  and  a  wee,  coquettish  fan.  Her 
curls  are  /tinned  up  daintily  upon  a 
proud  tittle  head,  and  there  are  high  lit  els 
to  her  slippers.  There  is  the  veiled  hint 
of  sex,  a  laughing  lure,  in  her  eyes.  Yes, 
our  Mary  is  growing  up — there's  even  a 
bedroom  in  "Rosita,"  her  picture  of  a 
street  singer  in  old  Spain.  Not  a  cozy, 
intimate  bedroom,  to  be  sure — but  a  bed- 
room, nevertheless! 


71 


THE  NATIONAL  GUIDE  TO  MOTION  PICTURES 

The 


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THE  GREEN  GODDESS— Distinctive 

GEORGE  ARLISS  in  the  screen  version  of  this  William 
Archer  play  provides  almost  as  good  entertainment  as 
he  did  in  the  stage  version.  The  only  thing  lacking  is  Mr. 
Arliss'  vocal  personality.  And  the  producers  of  the  picture 
have  largely  made  up  for  this  by  taking  advantage  of  scenic 
possibilities  that  were  beyond  the  reach  of  the  stage  pro- 
duction. This  picture  is  one  of  the  best  of  the  season.  It 
has  an  exceptional  cast,  striking  sets,  excellent  photography, 
and  titles  that  entertain  and  isntruct  and  do  not  bore.  Mr. 
Arliss  plays  the  suave,  ironic,  villainous  Rajah  as  only  he 
can.  And  Ivan  Simpson,  who  was  the  valet  in  the  stage 
production,  has  the  same  role  in  the  picture.  The  produc- 
tion is  also  notable  because  it  brings  back  to  the  screen  the 
charming  and  capable  Alice  Joyce. 


HOLLYWOOD— Paramount 

SEEING  yourself  as  others  see  you  is  said  to  be  good 
medicine.  Showing  yourself  as  others  might  see  you  if 
they  had  a  six-cylinder  sense  of  humor  certainly  is  good  fun. 
James  Cruze  has  tried  the  latter  experiment  in  "Holly- 
wood," made  from  a  story  by  Frank  Condon  originally  pub- 
lished in  Photoplay,  and  the  result  is  one  of  the  most 
successful  of  Paramount  pictures.  Angela  Whitaker  felt  the 
urge  to  twinkle  in  Hollywood.  So  she  took  her  ill  and  aged 
grandfather,  and  made  the  trip.  Angela  didn't  get  a  job. 
Grandpa  did.  Angela's  beau  and  her  family  felt  something 
must  be  wrong,  so  they  followed  after,  and  got  jobs,  too. 
All  the  motion  picture  people  you  ever  heard  of  are  in  this 
picture.  By  laughing  at  himself  and  his  crowd  Mr.  Cruze 
has  turned  out  a  rattling  good  film. 

72 


Shad 


ow 


(REG.  U.  S.   PAT.  OFF.) 


A  Review  of  the  J\[eiv  Pictures 


LITTLE  OLD  NEW  YORK— Cosmopolitan 

A  PICTURE  must  be  almost  perfect  to  get  by  the  New 
York  newspaper  reviewers  without  adverse  criticism  of 
some  sort.  They  are  a  hard-boiled,  long-suffering  aggrega- 
tion, oftentimes  taking  their  work  too  seriously,  approaching 
every  picture  with  the  firm  determination  to  live  up  to  their 
title  of  critics  regardless  of  its  entertainment  value. 

"Little  Old  New  York"  opened  with  unanimous  approba- 
tion. Marion  Davies  earned  a  place  in  the  first  line  of 
stars  for  her  work  in  "When  Knighthood  Was  in  Flower." 
She  firmly  established  herself  in  "Little  Old  New  York." 
It  is  a  charming  love  story  of  Old  New  York  at  the  time 
when  Vanderbilt  was  a  ferry  operator,  when  Delmonico 
first  opened  his  little  restaurant,  when  Washington  Irving 
was  a  gay  young  blade,  when  John  Jacob  Astor  was  laying 
the  foundation  of  the  great  family  fortune,  when  Robert 
Fulton  invented  the  first  steamboat.  As  Patricia  O'Day,  a 
beautiful  colleen  who  is  forced  by  her  father  to  come  to 
American  impersonating  her  dead  brother  as  heir  to  an 
estate,  she  could  not  have  been  surpassed  by  any  actress 
on  any  screen.  She  should  be  decorated  by  the  Irish  Free 
State  for  distinguished  service. 

Medals  should  also  be  sent  to  Sidney  Olcott,  who  directed 
the  picture  with  a  song  in  his  heart,  to  Luther  Reed,  who 
adapted  Rita  Johnson  Young's  stage  play,  to  Joseph  Urban, 
who  framed  it  in  technical  beauty,  and  every  member  of 
the  cast  should  be  cited  for  splendid  performances. 
Harrison  Ford  plays  young  Delevan,  whom  "Pat's"  father 
seeks  to  deprive  of  the  legacy  by  masquerading  his  daughter 
as  his  dead  son,  with  rare  understanding. 

Even  the  Authors'  League  must  admit  this  is  art. 


SAVES  YOUR  PICTURE  TIME  AND  MONEY 


The  Six  Best  Pictures  of  the  Month 

LITTLE  OLD  NEW  YORK  HOLLYWOOD 

TRILBY 

BLUEBEARDS  EIGHTH  WIFE 

ASHES  OF  VENGEANCE       THE  GREEN  GODDESS 

The  Six  Best  Performances  of  the  Month 

Marion  Da  vies  in  "Little  Old  New  York" 

George  Arliss  in  "The  Green  Goddess" 

Conway  Tearle  in  "Ashes  of  Vengeance" 

Norma  Talmadge  in  "Ashes  of  Vengeance" 

Luke  Cosgrave  in  "Hollywood" 

Gloria  Swanson  in  "Bluebeard's  Eighth  Wife" 

Casts  of    all  pictures  reviewed  will  be  found  on  page   116 


ASHES  OF  VENGEANCE— First  National 

THIS  production  is  one  of  the  first  of  the  promised  flood 
of  costume  pictures.  It  is  doubtful  if  any  of  the  others 
will  be  more  beautifully  staged  and  costumed,  or  more 
effectively  photographed.  It  is  a  story  of  the  time  of 
Catherine  de  Medici  and  Charles  IX,  her  son,  King  of 
France,  when  the  old  queen  forced  the  weak-brained  ruler  to 
sign  the  order  for  the  massacre  of  the  Huguenots.  This 
massacre  of  St.  Bartholomew's  Eve,  which  is  strikingly  done, 
is  introduced  early  in  the  picture  to  give  an  excuse  for  the 
really  charming  love  story  on  which  the  play  is  based.  The 
grand  ballroom  in  the  Louvre  is  said  to  be  the  largest  interior 
set  ever  built  and  it  certainly  looks  it. 

Director  Frank  Lloyd  has  told  a  most  interesting  story 
and  has  placed  it  in  fascinating  surroundings.  But  he  has 
been  too  careful  in  his  attention  to  detail,  as  a  result  of 
which  the  picture  drags  at  times  and  is  frequently  inclined  to 
tediousness.  Miss  Talmadge  gives  a  delightful  portrayal  of 
the  proud  Yoeland  de  Breux,  although,  peculiarly  enough,  it 
seems  at  times  as  if  she  were  more  the  leading  lady  than  the 
star,  so  brightly  does  Conway  Tearle  shine  in  the  role  of  her 
lover. 

There  are  many  bits  of  real  action — thrilling  sword 
play  and  exciting  fights  to  keep  suspense  pretty  much  in  the 
foreground. 

Running  close  to  Miss  Talmadge  and  Mr.  Tearle  in  the 
excellence  of  acting  is  Wallace  Beery,  who  can  always  be 
relied  upon  to  create  a  repellant  villain. 

The  picture  is  over  long  which  is,  in  a  way,  fortunate, 
because  judicious  cutting  will  improve  it.  Scenically,  im- 
provement is  hardly  possible. 


BLUEBEARD'S  EIGHTH  WIFE— Paramount 

BLUEBEARD'S  Eighth  Wife"  is  one  of  Gloria  Swan- 
son's  best  pictures,  even  though  the  story  is  so  thin 
that  anyone  can  see  through  it.  The  title  gives  the  whole 
idea.  A  young  French  girl  on  the  day  of  her  marriage 
discovers  that  her  husband,  a  rich  American,  is  known  as 
Bluebeard.  She,  in  fact,  is  his  eighth  spouse,  the  other 
seven  having  been  removed  by  Reno  instead  of  by  Provi- 
dence. The  lady,  not  unnaturally,  refuses  to  believe  her- 
self "the  only  one,"  but  is  convinced  by  an  amusing  test  to 
which  she  puts  her  husband.  The  original  farce  was  one 
of  the  plays  that  last  season  established  the  managerial 
adage:  "Nothing  risque;  nothing  gain."  It  was  only  a 
reasonable  success  on  the  stage.  In  picture  form  it's  suffi- 
cient unto  the  evening — the  most  one  can  ask  of  its  type. 


TRILBY— First  National 

TRUE  to  character  and  to  setting,  this  screen  version  of 
du  Maurier's  famous  novel  is  undeniably  interesting. 
What  it  lacks  in  the  vital  element  it  makes  up  in  charm  and 
attention  to  detail.  The  story  of  a  model's  love  affair,  of 
the  three  painting  musketeers  of  the  Latin  Quarter,  of  the 
sinister  Svengali  and  his  pathetic  slave  Gecko,  has  been  well 
told.  And  the  types  are  splendid.  In  Andree  Lafayette  the 
author's  sketches  of  his  heroine  have  come  to  life,  indeed — 
although,  when  it  comes  to  real  acting,  Francis  McDonald, 
as  Gecko,  walks  away  with  the  honors. 

Perhaps  the  weakest  part  of  the  picture  is  the  direction. 
It  seems  that  more  might  have  been  done  with  Mile. 
Lafayette,  that  some  of  the  scenes  could  have  been  handled 
more  deftly.    But,  on  the  whole,  good  entertainment. 

73 


LAWFUL  LARCENY— Paramount 

ALLAN  DWAN  has  made  this  picture  from  Samuel 
Shipman's  successful  play,  and,  in  spite  of  many  liber- 
ties taken  with  the  story,  it  is  still  most  interesting.  A  wife 
by  methods  perhaps  not  strictly  ethical,  saves  her  weak  hus- 
band from  dishonor  after  he  has  used  his  firm's  name  to  pay 
a  gambling  debt.  The  story  itself  is  not  over-convincing, 
but  the  production  is  most  expensive  and  lavish. 


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HOMEWARD  BOUND— Paramount 

AN  interminable  repetition  of  storm  scenes  and  a  re- 
dundance of  forced  and  unconvincing  complications. 
And  because  this  is  another  motion  picture  you  never  are  in 
doubt  that  there  will  be  a  sun  and  a  safe  harbor  and  Lila  Lee 
in  Thomas  Meighan's  arms  at  the  end.  Hugh  Cameron  and 
an  unknown  goat  contribute  whatever  there  is  of  charm  or 
novelty.     A  pretty  story  but  commonplace. 


tt  Mi    ESPf   ,  W 

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THE  BRASS  BOTTLE— First  National 

THIS  is  an  Arabian  Nights'  type  of  picture,  a  fantastic 
and  amusing  film  produced  by  Maurice  Tourneur.  It 
will  appeal  to  those  who  are  seeking  novelty,  for  it  has  many 
striking  and  unusual  scenes.  There  are  also  several  camera 
tricks  that  increase  the  interest.  The  Oriental  prologue  is 
beautifully  done,  with  Barbara  La  Marr  and  Ernest  Tor- 
rence  worthy  of  special  mention.     There  is  plenty  of  comedy. 


SOFT  BOILED— Fox 

RATHER  a  new  line  of  comedy  for  Tom  Mix,  but  he  is 
still  assisted  by  his  famous  horse,  Tony.  The  story  is 
slight,  but  the  action  is  very  fast,  and  there  are  plenty  of 
thrills,  romance,  pretty  girls  and  attractive  settings.  Some 
of  the  comedy  situations  are  screamingly  funny,  especially 
the  fight  which  wrecks  a  shoe  store.  Mix  supplies  both 
comedy  and  thrills,  doing  some  superb  riding  stunts. 


A  GENTLEMAN  OF  LEISURE— Paramount 

ALTHOUGH  this  drags  at  the  beginning,  it  acquires 
speed  as  the  action  progresses.  The  plot  centers  around 
a  young  society  man  who  makes  an  ill-bred  bet  to  get  a  girl's 
photograph,  with  a  loving  message  inscribed  upon  it,  in  one 
day's  time.  Jack  Holt  is  featured — but  Frank  Nelson,  as  a 
burglar,  walks  away  with  the  picture!  A  good  entertain- 
ment. 

7J> 


BLACK  SHADOWS— Pathe 

THIS  is  an  intensely  interesting  picture  of  the  strange, 
child-like  people  who  live  in  the  colorful  South  Sea 
Islands.  A  people  who  dance  and  swim  and  sleep  and  play — 
and  don't  do  much  else.  Sometimes  they  play  at  war  and 
love  and  other  grown-up  games,  but  you  never  think  of 
them,  wholly,  as  adults.  This  is  good  entertainment  for 
everybody — it  instructs  pleasantly. 


Photoplay  Magazine — Advertising  Section 


75 


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ST.  ELMO— Fox 

BELOVED  of  the  school  girls  of  yesterday,  this  novel 
loses  much  of  its  thrill  in  the  screening.  Perhaps  it  is 
because  times — and  people,  too — have  done  a  bit  of  chang- 
ing. John  Gilbert  is  almost  wicked  enough,  at  times,  to  fill 
the  title  role  of  the  passionate  misanthrope.  And  Bessie 
Love  is  Edna  Earle  to  the  life.  Modernizing  the  story  has 
not  helped  it.    It  is  too  old-fashioned  yet. 


THE  VICTOR— Universal 

THE  son  of  an  English  lord,  stranded  in  New  York,  takes 
up  prize-fighting,  and — in  a  remarkably  short  time — is 
in  the  championship  race.  He  is  also  involved  in  a  love 
affair  with  a  good  little  actress.  And  then  his  father  appears 
upon  the  scene,  with  an  expectant  near-fiancee,  and  for  a 
moment  it  looks  as  if  there  might  be  complications.  Good 
entertainment,  and  a  passable  fight. 


THE  FLYING  DUTCHMAN— F.  B.  O. 

AN  unusual  picture  which  very  closely  follows  the 
Wagnerian  opera  of  the  same  name.  The  tragic  legend 
of  the  mariner  who  must  sail  on  in  a  phantom  ship — doomed 
to  live  and  suffer  until  set  free  by  the  love  of  a  woman  who 
could  be  "faithful  unto  death."  There  is  some  very  fine 
photography,  and  Ella  Hall— as  the  faithful  woman — does 
the  best  work  of  her  life.    Interesting  but  rather  heavy. 


THE  LOVE  BRAND— Universal 

A  SPANISH  ranch  owner  who  gets  mixed  up  with  a  group 
of  crooked  capitalists,  and  who  falls  in  love  with  the 
blond  and  scheming  daughter  of  one  of  them.  Luckily  for 
him,  she  returns  his  love  and  so  the  plot  falls  through.  Not, 
however,  before  a  tragic  scene  in  which  he  accuses  her  of 
treachery — and  in  which  she,  going  precedent  one  better, 
brands  herself.    Good,  if  you  like  the  type. 


flK'^'nv  ^fcTKiiv  iiitfj1^  J$WBL,  ^lg-v  ■  .UM^^B-     - 

§■%■  *  ISHi 

HUbMHSlE 

i£  9           Vv/  Bi^^r^^>-'' 

OUT  OF  LUCK— Universal 

TRANSPLANT  a  young  cow-puncher  to  the  deck  of  a 
battleship — substitute  his  chaps  for  a  sailor  suit — and 
you  have  the  makings  of  a  good  plot.  Especially  when  the 
cow-puncher  is  Hoot  Gibson,  whose  winning  personality  has 
carried  him  through  many  a  story.  There  are  some  laugh- 
able situations,  and  enough  excitement  to  hold  the  atten- 
tion.    Good  entertainment  for  everybody. 

76 


BROADWAY  GOLD—Truart  Film  Corp. 

THE  romance  of  a  good  little  chorus  girl  who  is  forced  into 
a  marriage  with  a  dying  rich  man.  The  rich  man,  of 
course,  gets  well,  but  not  before  there  are  some  tense  mo- 
ments. There  is  one  DeMilleish  party,  and  Kathryn 
Williams  gives  a  splendid  portrayal  of  a  gold  digger.  Elaine 
Hammerstein  and  Elliott  Dexter  head  the  cast.  A  straight 
formula  picture.  [  continued  on  page  105  ] 


Photoplay  Magazine — Advertising  Section 


^yiow  do  they  accomplish  it  ? 

The  women  who  give  their  skin  the  hardest  wear 
manage  to  keep  their  faces  young  long  after 
other  women  have  grown  old  and  unattractive. 

THE  actress  gives  her  complexion  harder  wear  and  demands 
more  of  it  in  return  than  any  other  woman.  She  must  keep 
her  skin  fine  and  clear  though  she  covers  it  with  cosmetics.  It 
must  be  fresh  in  spite  of  late,  weary  hours. 

How  does  she  accomplish  this?  By  careful  study  of  her  skin 
she  has  discovered  the  two  indispensable  things  it  needs  to  keep 
it  in  the  fresh,  beautifully  supple  condition  she  demands. 

First  the  perfect  kind  of  cleansing  at  night  that  leaves  the 
face  soft  and  clear — every  bit  of  dirt,  every  trace  of  cosmetic, 
every  shadow  of  weariness  taken  away.  Then  the  exquisite 
morning  freshening  that  keeps  the  skin  flower- like  through  the 
day  and  guards  it  completely  from  every  coarsening  thing. 

These  are  the  two  fundamentals  of  skin  loveliness.  For  these 
two  things  many  well-known  actresses  depend  on  the  two  en- 
tirely different  creams  that  Pond's  developed  especially  for  this 
method  of  keeping  a  woman's  skin  young  and  fresh — Pond's 
Cold  Cream  and  Pond's  Vanishing  Cream.  And  many  other 
women  write  enthusiastically  about  the  smoothness  these  creams 
give  their  skin. 

See  what  this  famous  method  will  do  for  you 

Do  this  every  night.  With  the  finger  tips  or  a  piece  of 
moistened  cotton,  apply  Pond's  Cold  Cream  freely.  The  very 
fine  oil  in  it  penetrates  every  pore  of  youi  skin.  Then  wipe  it 
off  with  a  soft  cloth.  Dirt  and  excess  oil,  the  rouge  and  powder 
you  have  used  during  the  day  are  taken  off  your  skin  and  out 
of  the  pores.  Do  this  twice.  Your  skin  looks  fresh  and  is 
beautifully  supple. 

And  every  morning,  smooth  on  Pond's  Vanishing  Cream 
evenly.  If  you  wish,  rouge — powder.  How  smooth  and 
velvety  your  face  feels  to  your  hand !  Nothing  can  roughen  it. 
And  it  will  stay  that  way  all  day. 

To  see  how  Pond's  two  creams  actually  improve  your  skin, 
use  this  method  regularly.  Buy  both  creams  today  in  jars  or 
tubes.     The  Pond's  Extract  Company. 


Mae  Murray,  one  of  the  most  allur- 
ing of  screen  stars,  says,  "I  have 
found  that  Pond's  Two  Creams  give 
the  complexion  a  lovely  freshness  and  ■ 
smoothness*"  \  i 


Charming  Peggy  W ' ood says, 
'Pond's  Cold  Cream  cleanses  easily 
and  leaves  my  skin  feeling  fresh. 
Then  the  Vanishing  Cream  is  a  love- 
ly smooth  base  for  powder. " 

Photo  by  Edward  Thayer  Monroe 


The  common  troubles  that  make  a  woman's  skin  look 
older — Pond's  two  creams  banish  them 

Accumulation  oj  oil  and  dirt  in  the  pores.  For  this  condition 
cleanse  every  night  with  Pond's  Cold  Cream,  which  is  so  light 
it  penetrates  the  glands  and  tak.es  out  excess  oil  and  dirt  together. 
Then  every  morning  put  on  Pond's  Vanishing  Cream  to  keep 
your  face  fresh  through  the  day. 

Premature  wrinkles,  scaling,  dry  shine — are  especially  the 
troubles  of  a  dry  skin.  To  avoid  them,  keep  your  skin  soft  day 
and  night.  Cleanse  with  plenty  of  Pond's  Cold  Cream  nightly 
and  keep  some  on  over  night.  Feel  your  skin  relax.  Then  by 
day  Pond's  Vanishing  Cream  prevents  your  skin  from  drying 
out  again. 

Coarsening  Sun  and  Windhurn.  The  daily  repetition  of 
weather  damage  ages  your  skin.  For  everyday  exposure,  use 
faithfully  the  nightly  Pond's  Cold  Cream  cleansing  and  in  the 
day  the  delicate  yet  sure  protection  that  Pond's  Vanishing 
Cream  gives. 

GENEROUS  TUBES— MAIL  COUPON  WITH  10c  TODAY 

The  Pond's  Extract  Co.,     136  Hudson  St.,  New  York 

Ten  cents  doc)  is  enclosed  for  your  special  introductory  tubes  of  the  two  creams 
every  normal  skin  needs — enough  of  each  cream  for  two  weeks'  ordinary  toilet  uses. 


Name 


Every  skin  needs  these  Two  Creams — The  Street 

Cold  Cream  for  cleansing,  The  Vanishing 

Cream  to  protect  and  to  hold  the  powder  City 

Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


.State. 


Theda  Bora  visited  Mary  the  other  day,  at  the  Pick  ford- Fairbanks  Studios.    And 

— take  it  from  her  expression,  and  from  Mary's — found  something  very  amusing! 

America's  sweetheart  is  dressed  in  one  of  the  costumes  for  " Rosita" 


GoSSip- 
East  &  West 


den,  famous  tennis  champion,  and  Manuel 
Alonso,  tennis  champion  of  Spain. 

They  appeared  serenely  unconscious  of  each 
other's  presence.  A  brief  and  indifferent 
"Hello,"  passed  between  them.  Pola,  looking 
more  like  the  vital  and  daring  heroine  of  "Pas- 
sion" than  we  have  seen  her  since  her  arrival 
in  Hollywood,  was  in  a  box  with  Mr.  and  Mrs. 
Tommy  Meighan,  Mr.  and  Mrs.  Charles  Eyton 
and  the  two  young  tennis  stars. 

If  she  noticed  the  cheek-to-cheek  dancing  in 
which  Lenore  Ulric  and  Charlie  were  indulg- 
ing, and  the  occasional  kisses  which  Charlie  be- 
stowed upon  his  partner's  dainty  ear  in  the 
dark  corners,  La  Negri  didn't  care.  She  seemed 
the  only  person  in  the  room  who  wasn't  in- 
trigued and  slightly  shocked  by  the  great  come- 
dian's display  of  admiration. 

"Oh,  well,"  said  Pola,  "I'm  very,  very  glad 
it's  all  over.  I  should  never  have  been  a  great 
actress  as  Mrs.  Charlie  Chaplin.  It  has  inter- 
fered very  much  with  my  life  and  my  work  since 
we  became  engaged.  I  have  had  the  experience 
and  that  is  enough. 

"Please  don't  be  hard  on  poor  Mr.  Chaplin. 
He  is  a  charming  man,  really,  A  little  odd. 
We  are  still  good  friends.  But  he  should  never, 
never  marry.  He  is  temperamentally  unsuited 
to  marriage.  He  possesses  not  one  single  do- 
mestic taste." 

WHEN  asked  about  William  Tilden,  she 
blushed  vividly  and  said:  "I  admire  Mr. 
Tilden  very,  very  much.  Don't  ask  me  to  say 
anything  more  right  now." 

But  it  is  well  known  that  Miss  Negri  admires 
young  blond  athletes. 

"Please  don't  say  I'm  engaged  to  Mr.  Chap- 
lin," begged  Miss  Ulric.  "Naturally,  people 
are  always  reporting  my  engagement.  But  it 
would  be  too  amusing  to  be  reported  engaged 
to  a  comedian." 

The  general  opinion  seems  to  be  that  the 
story  of  Charlie's  engagement  to  anybody  is  a 


By  Cat  York 


Two  rcaso7is  why  the  Rev.  Neal  Dodd  is  called  the  pastor  of  the  pictures.     While 

Bebe  Daniels  gazes  dreamily  off  into  the  middle  distance,  Father  Dodd  gazes 

dreamily  at  Bebe.     And  Anna  Q.  Nilsson  laughs  softly  to  lierself 


WELL,  it's  all  over. 
Charlie  and  Pola  have  split.  Definitely, 
finally  and  absolutely.  Pola  isn't  going  to  be 
Mrs.  Charlie  Chaplin  after  all.  Five  weeks 
ago,  to  be  exact,  Madame  Negri  broke  the  fatal 
news  to  her  "Sharlie."  It  just  couldn't  be,  it 
seems.  She  had  decided  that  they  could  never 
be  happy. 

Hollywood  has  suspected  for  some  time  that 
everything  was  cold  in  the  much-advertised  ro- 
mance between  the  two  great  ones  of  the  screen. 
Ominous  quiet  reigned.  The  friendly  quarrels 
and  little  excitements  that  had  flashed  upon 
the  screen  with  such  frequency  since  the  en- 
gagement was  announced  at  Del  Monte  some 
six  months  ago  were  no  longer  in  evidence.  But 
the  final  realization  came  the  other  evening  at 
the  re-opening  of  the  newly  decorated  Cocoa- 
nut  Grove. 

Everyone  in  filmland  was  there.  Charlie  and 
Pola  were  there.  But  not  together.  Charlie 
was  paying  open  and  rather  embarrassingly 
ardent  court  to  his  lady  of  the  evening,  Lenore 
Ulric.  famous  stage  star  of  "Kiki"  and  "Tiger 
Rose." 

AND  Pola,  with  her  white  shoulder  turned 
upon  this  tableau,  was  receiving  the  hom- 
age of  two  young  athletic  heroes — William  Til- 

78 


Photoplay  Magazine— Advertising  Section 


PHOTOPLAY   MAGAZINE— ADVERTISING    SECTION  79 

COMMUNITY  PLATE 


f 

f   Y 
Y?Y 


CHARMING  MEMORIES 

Her  formal  dinners Luncheons  at  the  club 

———Coffee  on  the  terrace for  two     *     *     * 

••>$»       -»$••       ~$** 
*A"Qommunity  Buffet  Tray"  insures  faultless  service 


W 

t    Y 

It! 


went  the  limit  to  distort  their  stories,  going 
away  beyond  the  limits  of  common  decency. 
They  always  keep  just  within  the  law  of  libel, 
couching  their  language  in  subtle  innuendo.  I 
visited  Miss  Swanson  at  the  hospital  and  know 
that  the  brutal  and  unfair  treatment  of  a  few 
newspapers  gave  her  a  hundred  times  more 
pain  and  suffering  than  the  surgeon's  knife. 

"I  wish  I  could  get  used  to  it,"  she  said, 
"but  I  cannot.  I  suppose  it  is  part  of  the  price 
of  success." 

Incidentally  I  want  to  quote  what  one  of  her 
physicians  said:  "Miss  Swanson  is  one  of  the 
most  delightful,  cultured,  and  bravest  patients 
we  have  ever  known.  Immediately  after  the 
operation  when  she  was  suffering  excruciating 
pain  she  firmly  refused  opiates  or  sedatives. 
Trying  to  smile  through  her  pain  she  remarked, 
'If  you  ever  gave  me  anything  like  that  some 
of  the  newspapers  would  say  I  was  an  addict.' " 

■p\ANIEL  FROHMAN  was  feted  by  the 
-'-^Hollywood  colony  during  his  recent  visit 
to  raise  money  for  the  Actors'  Fund.  Carmel 
Myers  entertained  him  at  lunch  in  the  Gold- 
wyn  studio  and  again  at  a  dinner  at  the  Ambas- 
sador. Among  the  dinner  guests  were: 
Florence  Vidor,  Bessie  Love.  Blanche  Sweet, 
Josephine  Quirk,  Johnny  Hines,  Jean  Del- 
mour,  George  Meredith  and  Mr.  Frohman. 

"KTALCOLM  MCGREGOR  was  given  an 
-*»-*- hour's  notice  to  pack  his  wardrobe,  fly  to 
Santa  Barbara  and  assume  the  leading  role  in  a 

Anna  May  Wong  always  does  the  un- 
expected — and  always  scores,  while  doing 
it!  Forsaking  the  broken-hearted  wist- 
fidness  that  characterized  "  Toll  of  the 
Sea"  she  becomes  a  dancing  slave  girl  in 
"The  Thief  of  Bagdad"  with  Douglas 
Fairbanks 


Betty  Francisco,  one  of  Mack  Sennetl's  bathing  beauties,  shows  both  good  sense  and 
taste  in  her  choice  of  reading  matter.     It  isn't  all  that  she  shows,  either.' 


dead  issue  for  a  while.  He  will  have  to  show  a 
marriage  license  before  anyone  gets  excited 
about  it  again.  If,  as  such  a  large  part  of  the 
public  seems  to  believe,  there  has  been  any  de- 
sire for  publicity  in  Charlie's  frequent  engage- 
ments, the  cry  of  "Wolf — Wolf"  has  been  tried 
once  too  often. 

A  NOTHER  shock  has  been  dealt  the  film 
•*»-colony. 

Corinne  Griffith  and  Webster  Campbell  have 
separated. 

To  the  members  of  the  film  set  this  news 
proved  almost  as  startling  as  the  announcement 
that  the  Vidors  had  separated. 

Corinne  Griffith  has  been  known  as  the  most 
devoted  of  wives.  Few  of  our  stars  can  vie 
with  her  in  delicacy  of  beauty  and  feminine 
(harm.  She  is  the  quintessence  of  femininity, 
whom  many  men  have  admired — at  a  far  dis- 
tance. 

During  the  six  years  of  married  life  she  was 
never  seen  except  in  the  company  of  her  hus- 
band. She  insisted  upon  him  as  her  director 
in  Vitagraph  pictures.  She  had  no  interests 
outside  the  studio  and  her  home.  Only  now 
and  then  did  one  catch  a  glimpse  of  her  in 
public — at  a  theater  or  cafe — always  with  Mr. 
Campbell. 

But  for  some  time  her  most  intimate  friends 
have  known  of  her  unhappiness.  The  separa- 
tion took  place  after  Miss  Griffith  went  to  Cali- 
fornia to  appear  in  "The  Common  Law."  Her 
husband  accompanied  her  west  but  returned  to 
New  York  after  a  few  weeks.  Miss  Griffith 
then  accepted  the  star  role  in  "Six  Days." 

80 


After  completing  that  picture  she  paid  a 
brief  visit  to  New  York  to  close  a  contract 
whereby  she  will  star  in  her  own  productions 
for  First  National,  her  first  appearance  being 
in  Gertrude  Atherton's  "Black  Oxen." 

"There  is  no  thought  of  another  marriage  so 
far  as  I  am  concerned,"  says  Corinne.  "I  loved 
my  husband  very  deeply,  and  it  is  difficult  to 
see  one's  illusion  of  romance  shattered.  I'm 
not  bitter,  but  I  simply  am  not  interested  in 
romance." 

A  SUIT  for  divorce  filed  in  Los  Angeles  by 
Mrs.  Marie  Gerke  has  disclosed  the  fact 
that  Marie  Prevost  has  been  married  for  about 
five  years  to  H.  C.  Gerke.  Marie  managed  to 
keep  her  marriage  a  secret  for  some  reason  or 
other,  not  even  her  closest  friends  being  aware 
that  she  had  a  husband.  Her  suit  charges 
desertion. 

Miss  Prevost  was  one  of  the  most  famous 
of  the  "bathing  beauties."  It  was  a  great  loss 
to  the  decorative  end  of  motion  pictures  when 
she  decided  to  abandon  her  bathing  suit  and 
go  in  for  serious  roles. 

GLORIA  SWANSON  is  now  on  the  road  to 
recovery  following  the  operation  which  was 
performed  at  a  New  York  hospital.  Several  of 
the  New  York  newspapers  vied  with  each  other 
in  their  efforts  to  make  sensational  copy  out  of 
her  illness.  Because  she  would  not  permit 
them  to  send  photographers  into  her  room  at 
the  hospital  with  flashlights  immediately  after 
the  operation  and  because  she  would  not 
describe  her  trouble  in   minute   terms,   they 


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Photoplay  Magazine— Advertising  Sect 


ION 


81 


A  Twin  Complexion  Treatment 


IT  is  hard  to  think  of  the  sun  and 
the  wind  as  injurious  influences; 
yet  to  the  delicate  skin  of  the  refined 
woman  neither  is  an  unmixed  blessing. 

Both  sunburn  and  windburn  are 
drying,  roughening,  and  coarsening  to 
the  complexion;  while  the  dust  that  ac- 
companies wind  tends  to  clog  the  pores. 

Pompeian  Day  Cream  is  a  harmless 
preparation  of  exquisite  fineness  made 
to  protect  the  skin  during  the  activi- 
ties of  the  day  from  exposure  to  the 
elements. 

'Njt  Entirely  Oilless 

Unlike  some  "disappearing"  creams, 
Pompeian  Day  Cream  is  not  entirely 
oilless;  on  the  contrary,  it  contains 
just  sufficient  oil  to  make  it  desirable 
for  naturally  dry  as  well  as  for  normal 
or  oily  skins,  and  to  offset  the  drying 
effects  of  sun  and  wind. 


Protection  by  "Day,  with  'Pompeian  'Day  Cream 

To  all  appearances  Pompeian  Day 
Cream  vanishes  upon  application;  it 
actually  leaves  an  invisible  film  on  the 
skin  which  serves  as  a  protection  against 
weather;  furthermore,  this  soft,  dull 
film  eliminates  and  prevents  shine  and 
makes  a  powder  foundation  to  which 
Pompeian  Beauty  Powder  will  adhere 
evenly  and  smoothly  for  a  long  time. 

The  sleeping  hours  may  be  made  a 
period  of  benefit  or  of  harm   to  the 

Pompeian  Night  Cream  (cold cream)  6oe per  jar 

Pompeian  Day  Cream 6oc  per  jar 

Pompeian  Fragrance 25c  a  can 


Restoration  by  Night,  with  Pompeian  Night  Cream 

complexion,  according  to  whether  the 
skin  is  properly  prepared  for  natural 
restoration  or  carelessly  left  to  the 
heavy  hand  of  time. 

If  a  woman  retires  with  her  pores 
filled  with  the  dust  and  grime  of  the 
day,  with  her  skin  dried  and  rough- 
ened, wrinkled  by  mental  concentra- 
tion or  worry,  then  the  night  hours 
will  serve  to  perpetuate  these  faults. 

How  to  Keep  the  Skin  in  Condition 

But  if  she  will  follow  the  simple 
night  treatment  recommended  she  can 
clear  the  pores,  soften  and  soothe  the 
skin,  relax  the  facial  muscles,  subdue 
the  wrinkles,  and  nourish  the  under- 
lying tissues. 

First,  a  cleansing  with  Pompeian 
Night  Cream,  then  a  second  applica- 
tion gently  smoothed  into  the  pores, 
and  she  is  ready  to  let  the  great  re- 
storer, "  balmy  sleep,"  repair  the  rav- 
ages of  the  day. 

The  Twin  Treatment 

The  twin  complexion  treatment  of 
Pompeian  Day  Cream  and  Pompeian 
Night  Cream  provides  the  two  essen- 
tials of  day-time  protection  and  night- 
time restoration.  If  faithfully  used, 
these  two  preparations  alone  will  en- 
able any  woman  to  greatly  prolong 
her  hold  on  a  youthful  complexion. 

Pompeian  Beauty  Powder.  .  .  60c  per  box 
Pompeian  Bloom  (the  rouge).  .60c  per  box 
Pompeian  Lip  Stick 25c  each 


New  1924  Pompeian  Art  Panel  and  Samples 

Send  coupon  with  ten  cents  for  beautiful  new  1024  Pompeian  Art  Panel,  "Honeymooning  in  the  Alps." 
H'ith  this  panel  we  send  samples  of  Pompeian  Night  Cream.  Day  Cream,  Beauty  Powder,  and  Bloom 

Pompeian       Laboratories,     21,31       Payne      Avenue,     Cleveland,     Ohio 

Also  Made  in  Canada 


Qrea/ns 


©  1923,  Tho  Pompeian  Co. 


Your  Skin  V^eeds 
Special  fare  in  thezAutunm 

By  Mme.  Jeannette 

As  a  rme  a  woman  is  in  her  best  health 
with  the  beginning  of  the  autumn. 

But  how  about  her  skin? 

Frequently  she  is  aware  that  she 
has  been  negligent  in  her  care  of  it 
during  the  lazy  months  of  summer. 

I  have  saiit  it  before,  and  I  will  con- 
tinue to  say,  "Consistency  is  ///^virtue 
in  caring  for  your  skin."  You  are 
nourishing  its  tissues;  and  it  is  very 
like  your  body — you  can't  eat  a  sur- 
feit of  good  food  for  a  week  and  then 
forget  to  eat  for  the  week  that  follows! 
Yet  you  do  this  when  you  use  com- 
plexion creams  only  part  of the  time. 

*At  ZKjght — 

Soap  and  water  is  the  habitual  way  of 
most  women  in  cleansing  the  skin;  bul 
Pompeian  Night  Cream  is,  in  many  cases, 
more  thoroughly  cleansing. 

Pompeian  Night  Cream  may  be  used  as 
lavishly  as  the  individual  user  desires; 
there  is  no  such  thing  as  using  too  much, 
but  enough  should  be  used  to  cover  every 
part  and  feature  of  the  face,  as  well  as  the 
neck  and  the  arms,  if  they  too  would  be 
kept  in  beautiful  condition. 

I  do  not  advise  too  much  rubbing  and 
massaging — just  enough  to  thoroughly 
distribute  the  cream.  When  you  remove 
it  with  a  soft  cloth,  all  dirt  and  dinginess 
is  also  removed,  leaving  your  skin  soft 
and  smooth  and  lovely  to  the  touch. 

In  the  -JMorning — 
In  the  morning  you  will  find  that  the 
night  treatment  has  prepared  your  skin 
to  gratefully  accept  an  application  of 
Pompeian  Day  Cream.  This  is  a  founda- 
tion cream  for  the  day's  powder  and  rouge, 
and  it  is  a  protection  to  the  skin  as  well. 

Then  the  'Powder — 

If  the  autumn  finds  the  skin  still  some- 
what darker  than  usual,  you  should  use  a 
darker  tint  of  powder  than  you  custom- 
arily do.  Pompeian  Beauty  Powder  in  the 
Rachel  tint  may  be  used  on  naturally  fair 
complexions  until  care  has  restored  their 
own  delicate  pinks  and  white  tones,  when 
one  may  again  use  the  White  or  Flesh 
shades. 

Cover  the  face  and  neck  well  with  the 
powder,  and  then  dust  it  off  lightly  and 
evenly,  moistening  the  eyebrows,  eye- 
lashes, and  lips  to  remove  any  traces  of 
powder  from  them. 

Sfecialisle  en  Beaute       0 
TEAR  OFF,  SIGN,  AND  SEND 


POMPEIAN  LABORATORIES 

213I   Payne  Avenue,  Cleveland,  Ohio 

Gentlemen:  I  enclose  10c  (a  dime  preferred)  for  1924 
Pompeian  Art  Panel,  "Honeymooning  in  the  Alps,'* 
and  the  four  samples  named  in  offer. 


Name. 


Address. 


.State. 


Flesh  shade  powder  Bent  unless  you  write  snotner  below 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


82 


Photoplay  Magazine — Advertising  Section 


PinkrlbotK-BrusK 


is  abroad  in  the  land 

There  IS  no  question  about  it — 
tooth  troubles,  due  to  weakened 
gums,  are  on  the  rise. 

The  records  of  the  clinics,  the 
histories  of  thousands  upon  thou- 
sands of  cases,  point  to  the  undeni- 
able fact  that  gums  are  softer  and 
less  robust. 

'Does  your  toothbrush 
"show  pink"? 

If  your  gums  are  tender,  if  they  show  the 
slightest  tendency  to  softness,  then  you 
most  certainly  need  Ipana  Tooth  Paste. 

For  Ipana  Tooth  Paste,  because  of  the 
presence  of  ziratol,  has  a  decided  tendency 
to  strengthen  soft  gums  and  to  keep  them 
firm  and  healthy. 

In  the  very  short  years  that  Ipana  has 
been  compounded,  it  has  made  a  host  of 
friends.  Thousands  of  dentists  recommend 
it,  especially  to  those  patients  who  must 
take  good  care  of  their  gums. 

Send  for  a  trial  tube 

Ipana  Tooth  Paste  is  kind  to  the  enamel  of 
your  teeth,  yet  its  cleaning  power  is  re- 
markable. It  is  an  efficient  healer,  yet  its 
taste  is  remarkably  cool  and  refreshing. 
Send  for  a  trial  tube  today. 

IPANA 

TOOTH  PASTE 

—  made  by  the  makers  of  Sal  Hepatica 

Jto         In  generous  tubes, 
Bristol-  >a&  at  alldrugand 

M>ers  ^SO^^^V    department 

Co.  ^^!\^y^4(\.    stores— 50c. 

SI  Rector  St. 
New  York. 
N.Y. 

Kindly  send  me 
a  trial  tube  of 
IPANA   TOOTH 
PASTE    without 
charge  or  obligation  on 
my  part. 


Name 

Address- 

City 

State 


Mr.  and  Mrs.  Ernst  Lubitsch,  caught  in  a  moment  of  domestic  happiness.     Mar- 
ried scarce  a  year,  they  still  have  that  bride  arid  groom  look.     Herr  Lubitsch 
directed  Mary  Pickford  in  her  forthcoming  picture — before  that  he  directed  Pola, 
before  she  journeyed  to  America 


Fox  production,  "You  Can't  Get  Away  With 
It." 

After  consenting  to  do  the  part,  he  was  told 
the  wardrobe  expected  of  him.  It  sounded  like 
an  inventory  of  Brooks  Brothers.  As  the  assist- 
ant director  enumerated  the  articles,  from 
lounging  robes  to  cutaways  and  plug  hats,  Mac 
began  to  get  sore.  The  explosion  came  off 
when  a  Panama  hat  was  demanded. 

"I  haven't  a  Panama,  never  had  one  and 
never  expect  to  have  one,"  bawled  Mac. 

"But  you've  got  to  have  a  Panama  hat." 
sobbed  the  assistant.  "You  play  a  Harvard 
boy." 

"Well,  here's  where  Harvard  gets  a  black 
eye,"  roared  Mac,  who  happens  to  be  a  Yale 
man.  "I'm  going  to  play  a  Harvard  boy  with- 
out a  Panama.  Now  what  do  you  think  of 
that?" 

WHEN  Connie  Talmadge  finishes  her  pres- 
ent contract  she  is  going  to  Paris  to  live. 

"  I'd  like  to  make  a  contract  for  just  a  couple 
of  pictures  a  year- — if  anyone  is  foolish  enough 
to  sign  me,"  she  remarked  nonchalantly.  "I'm 
going  to  buy  a  house  in  Paris  and  dash  over 
here  in  the  mornings  to  work — the  evenings  are 
so  pleasant  in  Paris." 

It  looks  as  though  there  would  be  quite  a 
colony  of  filmers  in  Europe.  Lillian  Gish  has 
practically  been  won  over  by  Italy.  Doug  and 
Mary  say  that  they  want  to  retire  to  a  villa 
on  the  Italian  Riviera.    Pola  Negri  is  purchas- 


ing a  home  at  Beaulieu,  near  Monte  Carlo. 
The  Tony  Morenos  are  planning  to  spend  a 
year  abroad,  gathering  antiques  for  their  Ital- 
ian villa  in  Hollywood. 

THERE  is  a  pathos  in  the  separation  of  the 
Vidors  that  wrings  the  heart  of  old  Holly- 
wood. Florence  had  a  birthday  recently,  and 
featured  among  the  tributes  she  received  was  a 
string  of  rare  amber  coral  and  a  congratulatory 
note  in  a  basket  of  flowers  from  young  King, 
who  now  lives  at  the  Ambassador  hotel. 

"He's  so  sweet,  no  one  could  help  loving 
him,"  Florence  told  me  with  glistening  eyes. 

"She's  the  most  wonderful  woman  I  have 
ever  known  or  ever  expect  to  know,"  King  said, 
when  I  lunched  with  him. 

Then  he  told  me  of  a  play  he  had  written  of  a 
young  couple  who,  through  the  development  of 
individuality  and  circumstance,  are  separated, 
later  coming  together  in  a  greater  love  than 
they  had  known  before.     It  truly  is  a  drama. 

HERDS  of  disheveled  young  males,  trying  to 
look  as  "sexy"  as  possible,  were  seen  dash- 
ing around  a  studio  lot  recently.  Elinor  Glyn 
was  in  quest  of  "the  perfect  Paul."  Paul  is  the 
high-tempered  lover  of  Elinor's  "Three  Weeks," 
which  is  to  be  filmed  with  Alan  Crosland  di- 
recting. 

Elinor  has  decided  ideas  about  "the  perfect 
man,"  as  we  all  know.  Many  were  called,  but 
Derek  Glyn  was  chosen,  I  hear.    Derek  is  said 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Iftlk 


Photoplay  Magazine — Advertising  Section 


Something  new  in  glove  silk  underwear!  Of  course,  you've 
learned  the  luxury  (and  econcmy,  too)  of  Vanity  Fair — the 
smartest  silk  underwear.  But  do  you  know  their  remark- 
able new  fabric  "  VAN  I T  IS  I LK  "?  Besides  being  begui  1  ingly 
beaut  i  ful,  with  its  dainty  shadow  striping,  "VAN  I TIS  ILK," 
unlike  other  glove  silk,  keeps  its  length  after  being  laundered. 


£Vanity'cfatr  Silk.  Milk 

READING,  PA. 


Think  what  this  means !  The  next  time  you  buy  silk  under- 
wear, ask  for  vest  No.  622  and  knic  er  No.  2601,  (pictured 
above).  Vanity  Fair's  pettibockers  and  pettiskirts  can  also  be 
had  in  "  VANITISILK.  "This  Fall  they  are  more  attrac- 
tive than  ever.  We'll  be  glad  to  send  you  illustrations 
and  tell  you  where  to  get  them,  in  case  you  don't  know. 


Photoplay  Magazine — Advertising  Section 


C^i 


•r- 


Hiking 

A  wonderful  exercise;  health- 
ful and  invigorating,  too. 

It  works  your  weight  down; 
it  works  your  appetite  up. 

Yes,  there's  the  appetite  to  be 
considered;  and  the  food  must 
be  carried;  so  it  should  be 
strength-giving  without  bulk 
— worth  without  weight. 

What  could  better  answer  these 
requirements  than  Kraft  Cheese 
in  tins?  Here  is  the  concentrated 
goodness  of  pure  sweet  milk  in 
compact.convenient  form.  There's 
a  full  meal  in  one  of  these  little 
tins  that  you  can  carry  in  your 
pocket. 

Remember  this  and  have  a 
supply  on  the  pantry  shelf  for 
your  next  outing.  Then  you  can 
spread  your  sandwiches  fresh 
where  you  eat  them.  There  are 
eight  kinds  of  Kraft  Cheese  in 
tins, and  each  seems  better  than 
the  other. 

No  rind —  it  spreads. 
No  waste — 100  %  cheese. 

Cheese  Recipe  Book  FREE 
J.  L.  KRAFT  <&.  BROS.  CO. 

CHICAGO,  ILLINOIS 
KRAFT-MacLAREN  CHEESE  CO.,  LTD. 

MONTREAL,  CANADA 


3 


The  latest  thing  in  powder  puffs,  as  demonstrated  by  Alice  Lake.     A  silken  garter 

with  a  little  pocket  attached,  a  fluff  of  eiderdown  and  a  pinch  of  powder — and 

milady  is  read,y  for  any  emergency 


to  be  a  distant  relative  of  Madame's,  according 
to  the  publicity  department.  He  is  a  golden- 
haired  hoy  who  has  appeared  on  the  London 
stage  and  in  the  British  films.  So  far  he  has  not 
crossed  our  silver  sheet. 

By  the  way,  Nazimova's  husband,  Charles 
Bryant,  was  the  original  Paul — I  mean  the 
stage  original.  Elinor,  herself,  essayed  the  role 
of  the  lady  of  the  book,  but  withdrew  after  a 
few  hectic  rehearsals.  In  the  film  the  lady  will 
be  played  by  Aileen  Pringle. 

"V"OU  who  have  seen  "Three  Wise  Fools"  will 
■*■  remember  the  armored  car  in  which  the  con- 
victs escaped.  And,  when  it  turned  over,  you 
probably  squirmed  in  your  orchestra  chair,  and 
murmured  in  a  blase  manner:  "Oh,  well,  it's 
empty!  We  know  how  these  things  are  done!" 
Only,  it  wasn't  empty!  Leo  Noomis,  screen 
daredevil,  was  in  it.  Oddly  enough  he  chose, 
for  the  day  of  his  stunt,  Friday  the  thirteenth. 

Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


A  gloomy,  overcast  Friday,  at  that! 

Word  had  gone  around  that  there  was  to  be 
some  stunt  riding  done.  And  so  the  usual 
crowd  of  sensation  seekers  was  present;  folk 
who  had  journeyed  by  motor  and  on  foot,  from 
nearby  cities  and  towns.  They  clustered  be- 
hind the  camera  while  it  took  pictures  of  the 
approaching  machine  and  the  low-flying  plane 
that  dropped  bombs  all  around  it.  About  one 
hundred  yards  away  from  the  crowd  the  careen- 
ing iron  car  became  tricky.  It  skidded  and 
headed  straight  for  the  expectant  audience. 
There  were  cries  of  horror  from  the  crowd,  but 
daredevil  Noomis  gripped  the  wheel  and  swung 
the  seven  thousand  pounds  of  iron  at  right 
angles  into  a  barbed  wire  fence.  With  a  whir- 
ring, grinding  sound,  it  turned  over  in  a  vine- 
yard just  off  the  road. 

Half  sick  with  apprehension,  the  production 
staff  ran  for  the  car.  They  had  to  cut  away 
the    barbed   wire   before    they   could   get   to 


■II 


Photoplay  Magazine — Advertising  Section 


85 


^lOOO  in  prizes 

for  the  best  interpretation  of  this  picture 


This  is  one  of  a  series  of  pictures 
used  in  the  advertising  of  Eaton's 
Highland  Linen.  Four  of  these 
pictures  have  already  appeared  in 
this  magazine.  Look  them  up, 
study  them,  read  the  advertise- 
ments, see  how  the  pictures  are 
used  and  what  they  illustrate. 

Then  write  a  25  word  interpreta- 
tion of  this  picture  in  which  the 
thought  expressed  by  the  picture 
is  connected  with  the  use  of  writ- 
ing paper. 

The  best  interpretation  of  the 
picture  and  the  best  application 
of  its  meaning  to  the  use  of  writ- 
ing paper  will  win  the  first  prize. 
Prizes  will  be  awarded  to  other 
successful  contestants  as  indicated . 


RULES 

Please  read  these  simple  rules  and  follow 
them,  otherwise  your  contribution  will  not 
be  considered: 

1.  Your  interpretation  must  not  exceed 
25  words. 

2.  You  may  submit  as  many  answers  as 
you  wish  provided  each  answer  is  written 
on  a  separate  sheet  of  paper. 

3.  All  answers  must  be  written  on  Eaton's 
Highland  Linen.  This  paper  may  be  ob- 
tained wherever  good  stationery  is  sold. 
If  you  cannot  readily  obtain  this  paper, 
or  if  you  do  not  wish  to  buy  it,  send  a 
postal  card  to  the  Eaton,  Crane  &  Pike 
Company,  Pittsfield,  Mass.,  and  we  will 
mail  you,  free  of  charge,  a  sheet  of  Eaton's 
Highland  Linen  and  a  Highland  Linen 
Envelope  for  your  use  in  entering  this 
contest. 

4.  All  answers  must  be  addressed  to 
Contest  Committee,  Eaton,  Crane  9i  Pike 
Company,  225  Fifth  Ave.,  New  York, 
and  must  bear  a  post  mark  not  later  than 
midnight  Friday,  November  30th,  1923. 

5.  No  person  in  the  employ  of  the  Eaton, 
Crane  &  Pike  Company,  or  member  of 


$500 
$200      . 
$100 

2  prizes  of 
4  prizes  of 

1st  prize 
2nd  prize 
3rd  prize 
$50  each 
$25  each 

100  prizes  in  boxes 

or 

stationery 

the  family  of  such  employee  will  be 
eligible  to  compete. 

6.  If  two  or  more  contestants  send  answers 
alike  in  thought  and  of  equal  merit,  the 
full  amount  of  the  prize  will  be  paid 
to  each. 

7.  The  announcement  of  the  winners  will 
be  made  not  later  than  February  1st,  1924. 

8.  The  judges  who  will  pass  upon  all 
contributions  and  make  the  awards  are: 

Emily  Post,  author  of  "Etiquette,  the 

Blue  Book  of  Social  Usage". 
Charles   Dana  Gibson,  President,  Life 

Publishing  Co. 
Bruce  Barton,  President,  Barton,  Dur- 

stine  &  Osborn,  advertising  agency. 

Enter  this  contest.  It  is  an  opportunity . 
It  calls  for  original  thinking  and  clear, 
concise  writing.  It  mav  enable  you  to  dis- 
cover a  gift  you  did  not  know  you  possessed. 


EATON,  CRANE  &  PIKE  COMPANY,  New  York  -  Pittsfield,  Mass. 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


All  dressed  up  and  no  place  to  go!     Wesley  Bumj  languishes,  with  a  lily  in  one 

s mail-boyishly  grimy  fist,  and  tries  to  disguise  his  freckles  with  an  expression  that 

is  half  vamp,  half  flapper 


comparison  with  my  data,  it  was  just  about 
time  for  the  next  outburst.  So  I  took  my  com- 
pany, post  haste,  to  a  little  village  near  the  vol- 
cano— a  village  that  has  been  buried  three 
times  in  lava. 

"We  had  been  working  there  for  about  three 
weeks,  when,  one  morning,  the  old  volcano  be- 
gan to  rumble,  and  things  began  to  start.  I 
certainly  had  to  work  fast.  For  molten  lava 
runs  rapidly.  But  the  stuff  we  got!  Even 
though  the  fumes  and  the  gases  from  the  vol- 
cano made  us  all  sick,  and  one  of  the  camera 
men  began  to  have  fainting  spells.  One  camera 
became  so  hot  that  about  fifteen  hundred  feet 
of  film  melted  away." 

We  can  think  of  pictures  that  must  have  had 
that  effect  on  an  innocent  film.  Betty  Blythe 
in  "The  Queen  of  Sheba,"  for  instance.  Hut  we 
can't  quite  reconcile  the  melting  film  to  a 
Lillian  Gish  production. 

AND  speaking  of  hot  stuff,  the  cast  got  so 
overheated  during  the  filming  of  "Zaza"  at 
Paramount's  Long  Island  Studios  that  Alan 
Dwan  was  forced  to  resort  to  unique  methods.  | 
He  had  hugecakesof  ice  brought  inand  piled  up 
on  each  side  of  the  set.  And  a  battery  of  elec- 
tric fans  was  placed  behind  them  to  keep  a  vol- 
ume of  iced  air  blowing  over  the  actors.  In  this 
way  they  were  able  to  get  through  the  July 
weather,  and  the  most  "pash"  situations. 

T\  THEN  Rodolph  Valentino  and  his  wife  left 
W  this  country,  to  visit  the  old  homestead  in 
Italy,  some  friends  gave  them  a  farewell  dinner. 
Not — as  you  might  suppose — at  the  Ritz  or  the 
Plaza  or  the  Palais  Royal.  But  at  a  place  that 
Ruddy  chose,  away  down  in  the  city's  East 
Side.  The  Villa  Penza,  an  Italian  restaurant. 
Where  the  food  is  good.  And,  incidentally, 
very  cheap. 

The  Villa  Penza  has  a  front  room  and,  in 
back,  an  imitation  garden  draped  with  arti- 
ficial wisteria.  There  are  six  tables  in  the  gar- 
den and  three  in  the  front  room.  One  agile 
waiter  attends  to  all  of  the  guests.  And  every- 
one orders  spaghetti.  There  is  an  old-fashioned 
sink,  between  the  front  room  and  the  garden, 
where  the  fastidious  diner  may  wash  his  hands 
if  he  wishes  to,  before  eating. 

The  walls  are  decorated,  simply,  with  three 
pictures.  Garibaldi,  Rodolph  Valentino  and 
Nita  Naldi.  A  compliment — though  not 
subtle  one — to  the  Italian  sheik.  But,  verj 
seriously,  it's  rather  nice  to  know  that  Ruddy 
isn't  suffering  from  a  so-swelled  head!  If  he 
were  he  couldn't  enjoy  the  Villa  Penza. 

Incidentally,  the  night  of  the  farewell  dinner, 
the  police  reserves  had  to  be  called  out,  for  all 
of  the  East  Side  tried  to  get  a  look  at  the  Val- 

[  CONTINUED  ON  PAGE  92    ] 


Noomis.  They  thought  that  he  had  been 
killed — probably  frightfully  mangled.  They 
found  him  stunned,  but  not  at  all  injured. 
When  he  came  to  he  mumbled  something  about 
the  strap  of  his  puttee  being  too  tight — it  sort 
of  rubbed  his  ankle! 

THEY  say  there's  some  hot  stuff  in  "The 
White  Sister" — the  making  of  which  has 
kept  Lillian  Gish  so  long  away  from  her  pretty 
New  York  apartment.  Henry  King,  who  pro- 
duced and  directed  the  picture,  tells  all  about  it. 
"During  the  winter  in  Rome,"  he  says,  "I 
had  been  conducting  research  work  on  volcanic 
eruptions  and  weather  conditions,  so  that  I 
could  duplicate  the  actual  scenes  as  nearly  as 
possible.  And  then,  suddenly,  I  realized  that 
judging  from  present  weather  conditions,  in 


Seena  Owen  and  Lionel  Barrymore,  look- 
ing 'em  over  at  Banff,  while  on  location 
for  "  Unseeing  Eyes."  When  the  scenery 
of  the  Canadian  Rockies  grew  monoto- 
nous Seena  and  Lionel  staged  a  Belter 
Babies  show.  The  babies  rode  in  state 
upon  their  mothers'  bucks,  and  were 
tastefully  encased  in  embroidered  deerskin 

86 


On  the 

floor  is  shown 

Gold-Seal  Congoleum 

Art-Rug  No.  532.  The9x 

12  ft.  size  costs  only  $18.00 


Be  Sure  to  Look  for  this  Gold  Seal 

There  is  only  one  guaranteed  Congoleum 
and  that  is  Gold-Seal  Congoleum  identified  by 
the  Gold  Seal  shown  above.  This  Gold  Seal 
(printed  in  dark  green  on  a  gold  back- 
ground) is  pasted  on  the  face  of  every  gen- 
uine Gold-Seal  Congoleum  Rug  and  on  every 
few  yards  of  genuine  Gold-Seal  Congoleum 
By-the-Yard.  Look  for  it  when  you  buy. 

Congoleum  Company 

INCORPORATED 

Philadelphia  New  York        Boston        Chicago         Kansas  City 

San  Francisco        Minneapolis       Atlanta         Dallas        Pittshun;h 

Montreal         London  Paris  Rio  de  Janeiro 


More  time  to  enjoy  her  children — more  time 
to  herself — that's  what  Gold-Seal  Congoleum 
Rugs  bring  the  busy  housewife.  For  the  smooth, 
enamel  surface  of  these  sanitary  rugs  saves  so 
much  work — with  a  few  strokes  of  a  damp  mop 
every  vestige  of  dust  vanishes  like  magic. 

Their  charming  patterns  make  Gold-Seal  Con- 
goleum Art-Rugs  suitable  for  any  room  in  the 
house.  And  they  cling  tight  to  the  floor  with- 
out fastening  of  any  kind — never  wrinkle  or 
turn  up  at  the  edges  or  corners. 


The  pattern  illus- 
trated is  made  in  the 
five  large  sizes  only. 
The  small  rugs  are 
made  in  other  de- 
signs to  harmonize 
with  It. 

Owing  to  freight  rates,  prices  in  the  South  and  west  of  the 
Mississippi  are  higher  than  those  quoted. 


6  x  9  ft.  $  9.00 
7>^x  9  ft.  11.25 
9  x  9  ft.  13.50 
9  xlOKft.  15.75 
9     x  12      ft.    18.00 


VA  x  3  ft.  $  .60 
3  x3  ft.  1.40 
3  x  A}A  ft.  1.95 
3      x6      ft.    2.50 


Gold  Seal 


(ONGOLEUM 


^Irt-Rugs 


Palm  and  olive  oils  — 
nothing  else  —  give 
nature's  green  color 
to  Palmolive  Snap. 


fv 


J,000  Tears  Old 

Centuries  ago  che  ancient  Egyptians 
discovered  that  the  use  of  palm  and 
olive  oils  as  cleansers  would  keep 
their  skin  smooth  and  soft.  Flagons 
of  palm  and  olive  oils  equipped  the 
sumptuous  marble  hath  of  Cleo- 
patra. 

The  crude  combination  of  these  by- 
gone days  was  the  first  Palmolive 
the  world  knew.  It  was  the  inspira- 
tion for  the  scientific,  modern  blend 
which  is  known  the  world  over. 

Volume  and  efficiency 

produce  25c  quality 

for 


10c 


Certainly — 


Your  own  mild  Palmolive 

is  the  ideal  soap  for'  your  baby 


The  quality  which  makes  Palmolive  the  beautify- 
ing cleanser  which  keeps  your  complexion  fresh 
and  smooth  also  makes  it  the  perfect  baby  soap. 
The  mildness  which  makes  the  profuse,  creamy 
lather  lotion-like  in  its  effect  keeps  the  tender 
skin  of  infancy  soft  and  comfortable. 

If  you  could  find  milder,  purer  soap  to  use  for 
baby,  you  should  adopt  it  as  your  own  facial 
soap.  But,  search  where  you  may,  milder,  purer 
soap  cannot  be  found.  If  it  could  be  made,  we 
would  make  it.  But,  until  nature  herself  pro- 
duces finer  soap  ingredients  than  palm  and  olive 
oils,  this  can't  be  done.  Nothing  better  has  been 
found  in  3, ODD  years. 

Your  beautifier — Baby's  comfort 

Millions  of  women  have  learned  that  the  secret 
of  a  fresh,  blooming,  flawless  complexion  is  daily 
cleansing  with  Palmolive  Soap.  They  know  from 
experience  that  the  lotion-like  lather  cleanses 
without  a  trace  of  irritation,  removing  the  de- 
posits of  dirt,  oil  and  perspiration  which  must  be 
washed  away. 

They  know  that  to  neglect  this  daily  cleansing 
results  in  clogging,  and  that  such  clogging  means 
enlarged  pores,  blackheads,  blotches  and  general 


skin  disfigurement  And  that,  while  harsh  meth- 
ods injure  the  delicate  skin  texture,  Palmolive 
leaves  it  soothed  and  refreshed. 

Thus  women  of  mature  years  keep  that  schoolgirl 
complexion  long  after  girlhood  days  have  passed. 
Thus  their  own  experience  has  taught  them  what 
soap  to  use  for  their  babies  and  made  Palmolive 
the  most  popular  baby  soap. 

The  price  you  want  to  pay 

If  we  made  Palmolive  in  small  quantities  for  a 
limited  number  of  users  it  would  necessarily  be 
a  very  expensive  soap.  Palm  and  olive  oils  are 
costly  and  come  from  overseas.  And  the  Palm- 
olive process  is  elaborate. 

But,  the  world-wide  demand  of  millions  of  users 
requires  enormous  output,  which  keeps  the 
Palmolive  factorie3  working  day  and  night.  This 
quantity  production  reduces  cost  so  that  we  are 
able  to  offer  Palmolive  for  only  10c  a  cake. 

Thus  the  luxury  facial  soap  and  the  ideal  baby 
soap  can  be  economically  enjoyed  for  general 
toilet  use.  The  daily  bath  with  Palmolive,  which 
is  baby's  rightful  comfort,  may  be  enjoyed  by  all. 


Copyright  1923  -The  Palmolit 


wMotin 


— 


\ 


*  **  ■ 'V&»«R. 


What  won't  they  do  for  Pictures? 


Ethel  Shannon  willingly  sacrifices  her  beauty  to  her 
art  to  play  the  role  of  an  old  woman  in  "Maytime" 


Anna  Q.  Nilsson,  whose  crowning  glory  was  her  wonderful  blonde 
hair.     She  has  had  it  shorn  to  play  a  boy's  role  in  "Ponjola" 


89 


9° 


Photoplay  Magazine — Advertising  Section 


The  secret  of  having 
beautiful  hair 


How  famous  movie  stars  keep 
their  hair  soft  and  silky,  bright, 
fresh-looking  and  luxuriant 

NO  one  can  be  really  attractive,  with- 
out beautiful  well-kept  hair. 

Study  the  pictures  of  these  beautiful 
women.  Just  see  how  much  their  hair 
has  to  do  with  their  appearance. 

Beautiful  hair  is  not  a  matter  of  luck, 
it  is  simply  a  matter  of  care. 

You,  too,  can  have  beautiful  hair,  if 
you  care  for  it  properly. 

In  caring  for  the  hair,  proper  sham- 
pooing is  the  most  important  thing. 

It  is  the  shampooing  which  brings  out 
all  the  real  life  and  lustre,  the  natural 
wave  and  color,  and  makes  your  hair 
soft,  fresh  and  luxuriant. 

While  your  hair  must  have  frequent 
and  regular  washing  to  keep  it  beautiful, 
it  cannot  stand  the  harsh  effect  of  ordi- 
nary soaps.  The  free  alkali  in  ordinary 
soaps  soon  dries  the  scalp,  makes  the 
hair  brittle  and  ruins  it. 

That  is  why  leading  motion  picture 
stars  and  discriminating  women,  every- 
where, now  use  Mulsified  cocoanut  oil 
shampoo.  T  lis  clear,  pure  and  entirely 
greaseless  pr  duct  cannot  possibly  in- 
jure, and  it  does  not  dry  the  scalp  or 
make  the  hair  brittle,  no  matter  how  often 
you  use  it. 

When  oily,  dry  or  dull 

If  your  hair  is  too  oily,  or  too  dry;  if 
is  dull   and   heavy,  lifeless,  stiff  and 


gummy;  if  the  strands  cling  together, 
and  it  feels  harsh  and  disagreeable  to 
the  touch,  or  if  it  is  full  of  dandruff,  it 
is  all  due  to  improper  shampooing. 

You  will  be  delighted  to  see  how  easy 
it  is  to  keep  your  hair  looking  beautiful, 
when  you  use  Mulsified  cocoanut  oil 
shampoo. 

The  quick,  easy  way 

Two  or  three  teaspoonfuls  of  Mulsified 
in  a  cup  or  glass  with  a  little  warm  water 
is  sufficient  to  cleanse  the  hair  and  scalp 
thoroughly. 

Simply  pour  the  Mulsified  evenly  over 
the  hair  and  rub  it  in.  It  makes  an 
abundance  of  rich,  creamy  lather,  which 
rinses  out  quickly  and  easily,  removing 
every  particle  of  dust,  dirt,  dandruff  and 
excess  oil — the  chief  causes  of  all  hair 
troubles. 

After  a  Mulsified  shampoo  you  will  find 
the  hair  will  dry  quickly  and  evenly  and 
have  the  appearance  of  being  much 
thicker  and  heavier  than  it  really  is.  It 
keeps  the  scalp  soft  and  healthy,  the  hair 
fine  and  silky,  bright,  fresh-looking  and 
fluffy,  wavy  and  easy  to  manage — and  h 
will  be  noticed  and  admired  by  everyone. 

You  can  get  Mulsified  at  any  drug 
store  or  toilet-goods  counter,  anywhere 
in  the  world.  A  4-ounce  bottle  should 
last  for  months. 


Splendid  Jot- 
children — 
Fine  for  men 


Mulsified 

Cocoanut  Oil  Shampoo  Li 


l.'uiv  mivi-itisiTOciii  in  rnoTori.AY  magazi.nk  is  guaranteed. 


QUESTIONS    and    ANSWERS 


Ray,  Chicago,  III. — Your  first  letter  to  me? 
A  timid  little  affair,  Miss  or  Master  Ray.  I 
know  you  are  not  Mr.  or  Mrs.  for,  in  that  case, 
you  would  be  bolder.  You  remember  the  song. 
"As  they  grow  older  they  grow  a  little  bolder." 
True,  John  Bower's  address  is  care  Thomas  H. 
Ince  Studio,  Culver  City,  Cal. 

Fluvia  d'Oro,  Toledo. — An  interesting 
name  and  interesting  letter.  Twenty,  an  or- 
phan, and  a  governess.  Parents  died  tragically 
when  you  were  a  baby,  leaving  you  real  bronze 
hair  and  amber  skin.  A  good  start  for  a  movie, 
Senorita.  Particularly  that  pretty  tale  of  the 
surprise  of  your  dark-haired,  dark-eyed,  dark- 
skinned  parents  at  the  gift  of  an  infant  that 
originally  had  ash  blonde  hair  and  camellia 
skin.  It  is  a  natural  evolution,  "a  natural 
selection,"  that  you  should  admire  the  blonde 
pulchritude  of  Eugene  O'Brien.  You  are  right 
in  your  conjecture  as  to  his  character.  He  is 
"a  jolly  good  scout  to  know."  Your  favorite 
on  both  stage  and  screen  is  a  young  bachelor 
who  lives  with  his  mother  in  a  rather  sump- 
tuous apartment  near  Central  Park  West.  His 
mother  ranks  him,  as  most  mothers  rank  their 
sons,  one  hundred  per  cent  plus.  Mr.  O'Brien 
came  out  of  the  same  town  that  yielded  Doug- 
las Fairbanks — Denver.  He  was  born  in  1884. 
It  is  clear  from  your  letter,  which  hinted  of 
Latin  origin — the  ardor  of  those  born  in  sunny 
lands — you  have  observed  that  his  eyes  are 
dark  blue  and  his  hair  a  rich  gold  color.  He 
was  a  student  in  the  University  of  Colorado. 
He  had  a  stage  career.  He  appeared  in  serious 
plays  and  musical  comedies  before  adopting 
the  screen.  His  stage  career  began  with  "  Re- 
becca of  Sunny  Brook  Farm"  and  was  me- 
teoric. His  last  picture  was  with  Norma  Tal- 
madge,  "The  Voice  from  the  Minaret."  While 
this  is  written  he  is  playing  on  tour  with  a 
dramatic  production,  "Steve." 

Reader,  Chicago,  III. — Your  desire  that 
all  motion  picture  houses  distribute  programs 
containing  the  names  of  the  cast  before  the 
performance,  will  no  doubt  be  given  considera- 
tion by  exhibitors.  As  you  say,  it  taxes  the 
memory  to  recall  the  names  of  all  the  charac- 


V/OU  do  not  have  to  be  a  subscriber  to 
*  Phctoplay  Magazine  to  get  questions 
answered  in  this  Department.  It  is  only 
required  that  you  avoid  questions  that 
would  call  for  unduly  long  answers,  such  as 
synopses  of  plays,  or  casts  of  more  than  one 
play.  Do  not  ask  questions  touching  reli- 
gion, scenario  writing  or  studio  employment. 
Studio  addresses  will  not  be  given  in  this 
Department,  because  a  complete  list  of  them 
is  printed  e isewhere  in  the  magazine  each 
month.  Write  on  only  one  side  of  the  paper. 
Sign  your  full  name  and  address:  only  ini- 
tials will  be  published  if  requested.  If  you 
desire  a  personal  reply, enclose  self-addressed 
stamped  envelope.  Write  to  Questions  and 
Answers,  Photoplay  Magazine.  221  W.  57th 
St.,  New  York  City. 


ters  that  the  plot  unfolds.  The  post-per- 
formance pleasure  of  taking  the  program  home 
and  scanning  it  to  fix  certain  players  and  char- 
acters in  the  memory  is,  as  you  say,  a  consid- 
erable one.  Your  other  suggestion  to  flash  the 
name  of  the  actor  just  as  he  appears  on  the 
screen  shows  that  the  subject  has  received  your 
careful  attention.  The  Capitol  Theater  in 
New  York  is  one  of  the  many  that  publish  the 
cast  in  the  same  way  as  do  the  managements 
of  the  theaters  in  which  one  hears  the  dialogue. 

Catherine  of  Chicago. — Certainly,  my 
dear  Catherine.  June  Mathis  is  an  ex-actress. 
She  once  was  leading  woman  for  Julian  El- 
tinge.  It  was  the  dramatic  way  in  which  she 
told  a  story,  an  anecdote  of  her  family,  that 
caused  a  movie  man  who  was  present  to  say, 
"You  should  write  for  the  pictures."  She 
startled  the  Spanish  author,  Ibanez,  by  ap- 
pearing at  his  hotel  and  asking  for  a  conference 
on  the  high  spots  of  his  novels,  "Blood  and 
Sand,"  "The  Four  Horsemen  of  the  Apoca- 
lypse," and  "Sirvasse,  Senor."  She  was  the 
first  type  of  the  bachelor  maid  business  woman 
he  met,  a  new  type  to  the  novelist  from  Spain. 
Miss  Mathis  is  at  Hollywood,  busy  upon  her 
adaptations  of  "Ben  Hur"  and  "The  Day  of 
Faith"  for  the  screen.  Letters  should  be  ad- 
dressed to  her  at  Goldwyn  Studios,   Culver 


City,  Cal.    Her  official  position  is  that  of  edi- 
torial director  of  those  studios. 

Mickey  of  Kansas. — Shame,  Mickey !  You 
"don't  know  what's  the  matter  with  the  girls." 
You'd  rather  see  a  baseball  game  any  day  than 
Rodolph  Valentino.  You  are  a  he-boy  growing 
into  a  he-man,  Mickey,  and  maybe  you're  a 
little  jealous.  Jack  Holt  is  with  Famous 
Players-Lasky  Studios,  Hollywood.  Glenn 
Hunter  is  continuing  his  hit  in  "Merton  of  the 
Movies"  at  the  Cort  Theater,  New  York  City. 

Beth,  New  Haven,  Conn. — You're  "a 
Richard  Dix  fan  but  you  want  to  know  all 
about  Robert  Frazer."  At  least  you  are  frank, 
TNT iss  Beth,  and  frankness  in  this  case  shall  not 
be  its  only  reward.  Robert  Frazer  is  about 
thirty-one,  is  married,  and  has  had  a  stage 
career.  He  was  with  Cecil  Spooner's  stock 
company  in  Brooklyn,  and  with  other  stock 
companies.  Mr.  Frazer  has  been  seen  recently 
in  "Jazzmania,"  "As  a  Man  Gives"  and 
"When  the  Desert  Calls."  His  address  is  care 
Louis  B.  Mayer  Productions,  3800  Mission 
Road,  Los  Angeles,  Cal. 

M.  H.  A.,  Philadelphia  Maid. — An  original 
young  person  and  faithful.  But  how  can  I 
"give  you  Kenneth  Harlan"?  You  were  only 
speaking  figuratively?  Pardon  me.  Yes,  Mr. 
Harlan  has  been  married.  There  is  a  rumor  of 
an  engagement  to  Marie  Prevost.  His  most 
recent  pictures  were  "Thorns  and  Orange  Blos- 
soms," "The  Beautiful  and  Damned,"  "The 
Little  Church  Around  the  Corner,"  "The  Girl 
Who  Came  Back,"  and  "April  Showers."  Mr. 
Harlan  is  a  genuine  native  of  New  York  City. 
I  say  native,  because  strangers  meeting  persons 
from  the  north,  south  and  west  parts  of  the 
United  States  and  from  all  parts  of  Europe 
think  people  come  to  New  York,  but  are  not 
born  there.  Mr.  Harlan  wins  the  silver  medal 
which  Booth  Tarkington  promised  to  anyone 
who  was  actually  born  on  Manhattan  Island. 
The  brilliant  Indianian  too,  is  a  doubter  about 
any  white  man  having  been  born  on  this  island. 
But  occasionally  it  has  happened.  The  year 
was  1895.  [  continued  on  page  134  ] 

91 


02 


Photoplay  Magazine — Advertising  Section 


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Agnes  Ayres  admits — now  that  her  erstwhile  staid  personality  has  undergone  a 

miraculous  change — a  sneaking  fondness  for  the  races.     She  says  that  ''Spark 

Plug"  is  her  favorite  horse 

Gossip — East  and  West 

'  [  CONTINUED  FROM  PAGE  86  1 


entinos.  And  Mr.  and  Mrs.  Penza  are  now 
building  a  new  front  on  their  restaurant  to  take 
the  place  of  the  broken  one. 

OHAKESPEARE  wrote  of  the  "winter  of  dis- 
^content,"  but  summer  seems  to  be  the  dis- 
contented season,  so  far  as  the  marital  affairs 
of  screen  people  are  concerned.  Dispatches 
from  Paris  have  related  that  Irene  Castle  has 
divorced  Captain  Robert  Treman,  the  decree 
being  granted  on  the  typically  French  grounds 
of  "serious  insults."  Close  on  the  heels  of  this 
news  came  the  coupling  of  the  names  of  the 
former  Mrs.  Treman  and  Ward  Crane,  the  pic- 
ture actor.  French  courts  also  divorced  Elsie 
Ferguson  and  Thomas  B.  Clarke,  Jr.,  and 
rumor  promptly  joined  Miss  Ferguson's  name 
to  that  of  Frederic  Worlock.  the  English  actor 
who  was  her  leading  man  last  season  in  "The 
Wheel  of  Life." 

The  California  courts  were  responsible  for 
three  decrees.  Jackie  Saunders  divorced  E.  D. 
Horkheimer;  Carmel  Myers  was  set  free  from 
I.  B.  Kornblum;  and  Lillian  St.  John  won  a  de- 
cree from  Al  St.  John,  the  comedian. 

"KTOR  does  this  end  the  discontent.  News 
^■^  comes  from  California  that  Renee  Adoree 
has  filed  suit  for  divorce  from  Tom  Moore,  and 
that  Corinne  Griffith  wishes  to  be  free  from 
Webster  Campbell.  Also,  Ffelene  Chadwick 
wishes  to  add  to  her  divorce  record  by  freeing 
herself  from  William  Wellman.  And  from 
abroad  comes  the  report  that  Marjorie  Ram- 
beau  is  tired  of  the  bonds  that  hold  her  to 
Hugh  Dillman,  whom  she  married  compara- 
tively recently  as  her  ideal. 

TJTOWEVER,  undaunted  by  all  these  troub- 
-*■  -Mes,  Pauline  Starke  announces  that  she  in- 
tends to  marry  Jack  White,  a  director,  and 
Larry  Semon  does  not  deny  that  he  hopes  to 
make  Colletta  Ryan,  a  prima  donna,  change 
her  name. 

"OHE  ought  to  be  spanked,"  says  Louis  Fon- 
*^taine,  of  Auburn,  N.  Y.,  husband  No.  i  of 
Helene  Chadwick,  who  has  just  divorced  Wil- 
liam Wellman,  husband  No.  2.    "I  never  saw 

ry  advertisement  In  PHOTOPLAY  MAGAZINE  is  guaranteed. 


such  a  fickle  girl,"  he  continued.  "I  can't  see 
why  she  wants  to  divorce  Wellman,  unless  he 
isn't  rich  enough  for  her.  But  she  was  never 
very  extravagant.  Of  course,  I  know  a  girl  in 
the  films  has  chances  to  meet  many  moneyed 
people  and  has  many  admirers.  I  guess  they 
spoiled  Helene." 

Miss  Chadwick  became  Mrs.  Fontaine  in 
1915  and  then  divorced  her  husband  when  he 
returned  from  the  war.  About  a  year  later  she 
married  Wellman  and  became  quite  a  person 
in  Boston  society,  just  previous  to  going  into 
pictures. 

/^'IRLS,  beware  of  sheiks!  List  to  Wanda 
^-^Hawley,  who  has  just  returned  from  Egypt, 
the  habitat  of  the  species.  Sheiks  may  fasci- 
nate, but  many  of  them  don't  bathe. 

"Sheiks,  as  a  rule,"  she  says,  "are  a  dirty  lot. 
The  Arab  sheiks  are  not  so  bad  as  the  Egyptian 
ones.  In  Egypt  they  are  terrible.  They  put 
on  one  outfit  of  clothing  and  don't  change  it 
until  it  falls  off.  One  of  them  asked  me  why 
American  girls  were  so  cold. 

"  'The  Fnglish  and  French  girls  let  us  make 
love  to  them,'  he  told  me,  'but  you  American 
women  are  frigid.' 

"I  told  him  we  drew  the  color  line.  I  didn't 
want  to  hurt  his  feelings,  but  I  tried  to  intimate 
in  a  friendly  way  that  we  have  some  definite 
ideas  about  sanitation,  bathing  and  occasional 
changes  of  clothing. 

"Sheiks  are  all  right  at  a  distance  or  on  the 
screen.  But  there's  nothing  romantic  or  mag- 
netic about  them  in  physical  close-ups." 

LOVELY  Julanne  Johnston,  the  new  leading 
lady  for  Douglas  Fairbanks,  is  receiving  very 
flattering  attentions  just  now  from  a  handsome 
young  Spanish  nobleman,  who  is  visiting  in  Los 
Angeles.  He  is  the  Due  du  Durcal,  cousin  of 
the  King  of  Spain,  and  one  of  the  handsomest 
men  in  Europe.  He  spends  a  great  deal  of  his 
time  sitting  at  Miss  Johnston's  pretty  feet, 
both  on  the  Fairbanks  set  and  on  the  sunny 
beach.  And  it  is  whispered  that  several  society 
debutantes  have  wept  many  tears  because  the 
young  Due  dined  and  danced  with  Julanne  at 
the  Montmartre  or  the  Ambassador  instead  of 


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<A, 


<^      &0     O.C^C3"   "flu 


Do  you  want  a  Dress 
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MAE  MARSH  is  delighted  with  this  "One  Hour 
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hour  at  merely  a  third  of  its  cost  in  the  shops. 

The  "One  Hour  Dress"  was  designed  by  the 
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able  to  plan  and  design  distinctive,  becoming  clothes 
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□  The  Art  of  Successful  Cookery 

Name 

(Please  specify  whether  Mrs.  or  Miss) 


1 


attending  social  functions  outlined  for  his  visit. 
We  don't  know  whether  Julanne  has  any  am- 
bitions to  become  a  duchess,  but  if  so,  it  looks 
as  if  she  had  a  fair  chance  to  realize  them.  The 
Due  was  also  the  guest  of  Rex  Ingram  and 
Alice  Terry  at  Catalina  for  a  few  days. 

TAMES  KIRKWOOD  and  Lila  Lee  are  mar- 
J  ried.  Six  days  after  Mr.  Kirkwood  was  freed 
from  his  previous  bonds  of  matrimony  by  a 
Nevada  court,  he  and  Lila  slipped  away  quietly 
to  a  little  church  in  Los  Angeles  and  Lila  prom- 
ised to  love,  honor  and  obey  forever. 

( )nly  immediate  members  of  the  family  were 
present,  and  Lila  wore  a  white  georgette  after- 
noon frock,  with  a  white  hat  trimmed  in  lilies- 
of-the-valley,  and  carried  a  huge  shower  of  the 
same  flowers. 

The  Kirkwood-Lee  romance,  which  has 
caused  considerable  comment  for  the  past  year, 
has  been  variously  interfered  with  since  the  two 
first  fell  in  love.  Although  they  had  been  sepa- 
rated for  some  time,  he  was  still  legally  bound 
to  his  second  wife,  Gertie  Robinson  Kirkwood. 
And  Lila's  mother  objected  strenuously  to  her 
daughter,  who  was  under  eighteen,  marrying 
until  she  was  a  little  older.  But  Gertie  Kirk- 
wood went  to  Reno  and  got  her  divorce. And 
Lila's  mama  withdrew  her  objection  when 
Lila's  eighteenth  birthday  was  past. 

The  surprise  service  was  a  result  of  the  fact 
that  both  Jim  and  Lila  were  going  on  location 
immediately — and  not  together.  Lila  has  com- 
pleted her  Paramount  contract  and  Kirkwood 
is  building  a  beautiful  home  in  Beverly  Hills 
for  his  young  bride. 

THE  original  rosette  worn  by  Danton  in  the 
French  revolution  will  be  worn  by  the  char- 
acter of  Danton  in  Rex  Ingram's  "Scara- 
mouche."  Itwa.s  sent  to  the  director  by  Vincent 
J.  Danton,  of  Boston,  a  great-grandson  of  the 
French  revolutionist.  — 

"I  am  sending  you  the  tricolor  my  great- 
grandfather gave  to  his  wife  just  before  he  was 
executed,"  said  Mr.  Danton  in  a  letter  to  Mr. 
Ingram.  "Perhaps  it  will  cause  some  latent 
spark  of  genius  to  awaken  in  the  portrayer  of 
Danton  in  your  'Scaramouche'." 

Mr.  Ingram  affixed  the  rosette  to  the  lapel  of 
George  Siegman,  who  plays  Danton,  and  sent 


"-tills"  to  the  great-grandson  of  the  hero,  who 
replied: 

"There  is  no  criticism  to  offer  of  Mr.  Sieg- 
man's  portrayal.  We  have  made  a  close  scru- 
tiny of  the  photographs,  and  at  first  were 
amazed  at  the  uncanny  similarity  of  his  fea- 
tures when  compared  to  the  original  portrait. 
He  has  all  of  our  family  characteristics,  plus  a 
composite  cast  of  features  that  spell  just  Dan- 
ton. You  may  be  assured  that  when  you  show 
'  Scaramouche '  in  France,  the  people  there  will 
proclaim  it  a  masterpiece." 

XTORMA  TALMADGE  is  spending  all  her 
•^-^time  these  days  learning  to  do  intricate 
Oriental  dances.  She  does  a  lot  of  dancing  in 
her  next  picture.  Her  dancing  master  comes 
for  three  hours  every  morning,  and  Norma 
works  in  a  tight,  black  bathing  suit  over  a  suit 
of  soft  rubber,  to  make  her  muscles  supple  and 
delicate. 

"Last  picture  I  had  to  learn  to  ride."  said 
Norma  the  other  day,  "this  time  I  learn  to 
dance.  Next  time  I'll  probably  have  to  work 
on  a  trapeze." 

JOHNNIE  WALKER  has  been  nursing  a  se- 
J  cret  sorrow — despite  the  smiles  that  cover  his 
face  whenever  he  appears  upon  the  silver  sheet. 
You  see  he  likes — no,  loves — corned  beef  and 
cabbage!  And  his  cook,  who  is  a  Korean, 
named  Wataka,  could  not  get  the  idea  of 
corned  beef  and  cabbage  through  his  Oriental 
head.  Johnnie  tried  to  explain  the  intricacies 
of  the  dish,  but  it  didn't  get  over. 

And  then,  in  a  picture,  he  played  the  part  of 
a  young  prize  tighter,  and  Eileen  Percy  was 
cast  as  his  equally  young  wife.  And  the  script 
called  for  a  dinner  of  corned  beef  and  cabbage — 
that  being  considered  properly  red-blooded  and 
pugilistic.  And,  much  to  Johnnie's  surprise, 
Eileen  didn't  have  to  use  a  double  in  that  scene. 
Maybe  he  didn't  know  that  she  was  raised  in 
Brooklyn,  where  they  do  corned  beef  and  cab- 
bage better  than  almost  anything  else. 

Believe  me,  the  meal  that  Johnnie  ate,  in 
that  home  cooked  dinner  scene,  was  not  faked! 
He  enjoyed  every  mouthful  of  it.  And  when 
the  day's  work  was  over  he  hurried  home,  and 
dashed  joyously  into  the  kitchen. 

"  You  go  down  to  Miss  Percy's  house,  Wata- 


Gloria  Swanson  in  one  of  the  first  scenes  of  her  forthcoming  production  of  "Zaza," 
which  has  been  in  progress  of  filming  by  Allan  Dwan  at  the  Famous  Players  Long 
Island  stvdios.     She  looks  a  vivid  Zaza  but  we  hear  the  character  is  to  be  con- 
siderably adulterated 

Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


95 


Certainement! 

En  effet,  ce  sont  les  petits  details 
qui  contribuent  a  la  realization 
d'une  chaussure  parfaite,  tels  que 
les  petits  oeillets,  toutefois  visibles, 
si  essentiels  pour  le  chic  et  la 
qualite  de  mes  chaussures. 


The  white  colonial  oxfords  worn  by  Mile.  Lafayette  are  in- 
stantly identified  at  shoes  of  quality  by  the  Diamond  Brand 
(.Visible)  Fast  Color  Eyelets.  Their  genuine  celluloid  tops 
always  look  new  and  never  wear  brassy.  They  promote  easy 
lacing,  retain  their  original  finish  indefinitely  and  actually 
outwear  the  shoe. 


"Yes  indeed,  it  is  the  little  details  that  make  a  perfect 
shoe,  such  as  the  tiny  but  visible  eyelets  so  essential 
for  style  and  quality  in  my  footwear"  —  says  Mile. 
Andree  Lafayette,  the  charming  heroine  of  Richard 
Walton  Tully's  all-star  production  of  Du  Maurier's 
Novel,  "Trilby",  a  current  First  National  release. 

The  well-groomed  women  of  America  are  no  less  fastid- 
ious in  selecting  the  dainty  footwear  that  completes 
their  wardrobe.  Quite  naturally  they  insist  that  their 
shoes  be  finished  with  visible  eyelets,  the  mark  of 
quality,  distinction,  and  chic! 


UNITED  FAST  COLOR  EYELET  COMPANY 

Manufacturers  of 

DIAMOND  BRAND   (VISIBLE)   FAST  COLOR  EYELETS 


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96 


Photoplay  Magazine — Advertising  Section 


IP 


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Note  the  cigarette  cut  in  two,  half  being  buried  with  the  knife  blade  in  the  wall. 

Director  Erich  von  Strohcim  apparently  had  a  lot  of  confidence  in  the  skill  of 

Bee-Ho  Gray,  who  tosses  a  knife  in  a  scene  of  his  production  of  "Greed" 


ka,  my  man,"  he  told  the  astonished  Korean. 
"She'll  show  you  how  to  cook  corned  beef  and 
cabbage!" 

And  now  the  secret  sorrow  has  evaporated 
into  thin  air,  and  Wataka  sings  at  his  work. 

DOUBLING  for  doubles  is  the  latest  indoor 
sport  of  some  of  our  pet  motion  picture 
stars.  Up  to  the  present,  Tom  Mix  seems  to 
hold  the  record,  having  doubled  for  himself  and 
three  others  of  the  company  that  was  making 
"North  of  Hudson  Bay." 

Among  the  scenes  is  one  in  which  the  hero, 
the  heroine,  the  villain  and  a  guide  are  sup- 
posed to  shoot  the  rapids,  each  in  a  separate 
canoe.  Mix  first  made  the  dangerous  trip  as 
the  hero — himself.  Then  he  put  on  the  vil- 
lain's make-up  and  did  it  again.  Next  he 
changed  to  the  guide's  costume  and  went  down 
the  stream  once  more.  And,  finally,  he  donned 
the  heroine's  clothes,  with  a  black  wig,  and 
made  a  fourth  descent. 

Birchbark  canoes  were  used  and  it  was  found 
that  Mix  was  the  only  member  of  the  company 
who  knew  how  to  handle  one.  Hence  his  over- 
time. 

AND   now  May  McAvoy,   although  folks 
refer  to  her  as  a  baby  doll  and  all  that  sort 
of  thing,  is  doubling  for  her  doubles. 

You  see,  she's  making  a  picture  at  Yuma, 
Arizona,  and  the  script  calls  for  some  pretty 
dangerous  driving  through  a  rush  of  water  that 
is  caused  by  the  opening  of  the  flood  gates  of 
the  Yuma  dam.  The  director  had  two  doubles 
on  hand,  a  girl  and  a  boy— to  take  the  place 
of  May.  He  tried  out  the -girl,  first,  but  the 
rush  of  water  made  her  so  dizzy  that  she  faint- 
ed. Then  the  boy  tried  it,  but  he  couldn't  hold 
the  nervous  horses,  and  they  ran  away.  And 
then,  while  the  director  was  uttering  a  number 
of  discouraged  curses,  he  looked  up  to  see  May 
her-  elf,  carefully  costumed  and  very  calm,  get- 
ting into  the  buggy.  And,  despite  his  feeble 
efforts  to  restrain  her,  she  drove  through  the 
flood  as  casually  as  if  it  were  just  an  everyday 
occurrence.  Right  away  two  extras  were  out 
of  a  job! 

THERE  are  so  many  wonderfurthings'about 
Mary  Pickford.  Some  of  them  the  world 
knows.  But  most  of  them  Mary  herself  keeps 
hidden. 


One  of  the  very  sweetest  is  her  gentle'devo- 
tion  to  Mrs.  Moore,  mother  of  Tom,  Owen  and 
Matt — and  Mary's  one-time  mother-in-law. 
With  all  her  boys  ou  t  in  the  world,  away  from  her 
much  of  the  time,  with  one  boy,  Joe,  a  hopeless 
invalid,  the  old  lady  has  been  a  sorrowful  and 
rather  lonesome  little  figure  at  times.  The 
old  nest  is  deserted. 

But  Mary  has  never  been  too  busy,  nor  too 
surrounded  by  the  splendid  things  of  the  world, 
to  remember  her,  to  have  her  at  the  studio  for  a 
visit,  to  take  her  up  to  Pickfair  for  a  cup  of  tea, 
or  to  send  her  some  little  gift  on  anniversaries 
and  holidays. 

That's  Mary. 

TT  is  not  everyone  who  can  keep  a  director  and 
-'■an  entire  company  of  players  waiting  on  the 
set  and  get  away  with  it.  Yet  it  happened 
while  "If  Winter  Comes"  was  being  made  in 
the  William  Fox  studios,  and  no  one  was  even 
reprimanded. 

The  carpenters'  hammers  were  stilled.  Mark 
Sabre,  Mabel  and  Effic  sat  near  the  camera  and 
waited.  Director  Millarde  consulted  in  whis- 
pers with  the  cameraman.  All  glanced  anxiously 
towards  a  rocking  chair  where  a  young  woman 
was  crooning  softly  to  a  mite  of  a  baby  in  her 
arms.    The  rascal  would  not  go  to  sleep. 

This,  the  smallest  member  of  the  cast,  was 
holding  up  the  picture.  Mr.  Millarde  had  in- 
sisted that  the  baby  register  sleep  for  the  scene 
in  which  Effie  brings  her  child  to  Mark  Sabre's 
home.  So  the  entire  company  waited  until  the 
little  eyelids  began  to  droop.  Then  Mr.  Mil- 
larde whispered  "Camera!"  and  the  scene  was 
shot. 

DOROTHY  MACKAILL,  who  is  leading 
woman  for  Richard  Barthelmess  in  "The 
Fighting  Blade,"  is  having  a  hard  time  learning 
the  American  language.  She  came  into  the 
studio  one  day  and  said: — 

"I  met  a  friend  yesterday  who  knows  all 
about  horses  and  he  told  me  to  put  everything 
I  had  on  a  horse  that  he  named." 

"And  did  you?"  someone  asked. 

"I  couldn't,"  Dorothy  mourned.  "I  didn't 
have  a  thing  that  would  fit  him." 

WILL  ROGERS  is  intensely  interested  in 
Bill  Hart's  decision  to  make  a  picture 
around  the  life  of  Wild  Bill  Hickok. 


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Photoplay  Magazine — Advertising  Section 


"Wild  Bill  Hickok,"  says  the  famous  wit, 
"was  the  greatest  character  the  West  ever  had. 
You  never  find  an  old-timer,  or  an  old  horse- 
man or  cattleman  or  cowpuncher,  that  don't 
say  Wild  Bill  was  the  greatest  of  'em  all.  He 
wasn't  spectacular,  like  Buffalo  Bill — who  was 
a  sidekick  of  his — but  he  was  a  wonderful  man 
in  every  way. 

"He  didn't  care  much  about  the  show  busi- 
ness end  of  the  game.  Preferred  to  take  his 
wild-westing  straight.  But  there  was  one  time 
Buffalo  Bill  persuaded  him  to  troop  with  him 
in  a  little  melodrama  they  had.  There  was  one 
scene  where  they  hung  a  horse  thief  and  Wild 
Bill  was  supposed  in  the  play  to  be  the  sheriff 
and  pull  the  rope.  He  did.  And  he  did  it  so 
hard  and  wouldn't  let  go  that  they  darn  near 
broke  the  guy's  neck  that  was  playing  the 
horse  thief.  When  he  found  they  wouldn't  let 
him  be  realistic  that  way,  he  claimed  it  was 
cheating  the  public  to  pretend  to  hang  a  horse 
thief  when  you  didn't,  and  went  back  to 
Montana." 

TANE  NOVAK,  who  is  playing  a  young  moth- 
er in  "Lullaby,"  has  a  precocious  youngster 
as  her  child  in  the  picture.  Some  time  ago  she 
took  home  a  number  of  pictures  of  this  child. 
Miss  Novak  has  a  small  daughter  of  her  own, 


Take  it  off,  Marie.  We  know  you. 
Wonder  how  the  beautiful  Miss  Prerost 
feels,  all  draped  up  in  "The  Warders" 


97 


When  the  charming  Gladys  Walton  stops  her  Cadillac  for  a  chat  with 
Herbert  Blache,  her  director,  in  the  streets  of  Universal  City,  we  see 
that  Biflex  Bumpers  give  her  "  Protection  with  Distinction."  Biflex, 
front  and  rear,  are  her  insurance  against  road  risks,  as  they  are  with 
the  majority  of  the  brighter  lights  of  Hollywood. 

Biflex  Bumpers  find  a  ready  place  on  the  cars  of  those  fortunate  people 
who  are  accustomed  to  the  best  of  everything  in  motordom.  They 
seem  integral  parts  of  the  fine  car  created  with  and  for  the  masterpieces 
of  beautiful  design.  Yet  Biflex  Bumpers,  due  to  modern  manufactur- 
ing methods,  are  within  the  reach  of  all  motorists,  protecting  and 
dignifying  any  car. 

The  protection  principle  of  Biflex  is  that  of  a  great  steel  cushion, 
rebounding  like  a  hoop  under  any  impact.  Note  the  deep  space 
between  the  double  bars,  where  the  collision  shock  is  taken  up  before 
it  reaches  the  car.  Note,  too,  the  broad  up-and-down  "bumping  area" 
which  effectually  blocks  bumpers  of  all  heights  and  takes  blows  from 
any  angle.     And  the  full  looped  ends  which  give  maximum  flexibility. 

Biflex  Bumpers  are  the  original  double-bar  bumpers  with  full-looped 
ends.     Price  from  $23  to  $28.    If  any  dealer  cannot  supply  you,  write 

THE  BIFLEX  CORPORATION 
WAUKEGAN,  ILL. 


Biflex 

Cushion  "Bump 


Biflex  Bumpers  and  Brackets  are  fully  guar- 
anteed against  imperfections  in  material  and 
workmanship.    Protected  by  U.  S.  Patents. 

PROTECTION 
WITH  DISTINCTION 


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roPL.vv  Magazine — Advertising  Section 


Address_ 


GRAY  hair  is  a  tattle-tale.  Don't  endure 
it  until  you  are  really  old.  If  at  40  you 
still  feel  young,  then  you  owe  it  to  yourself 
and  family  to  look  young.  It's  just  as  easy 
to  keep  your  hair  young  and  beautiful  as 
to  retain  your  youthful  interest  in  life  and 
people.  Tint  gray,  faded,  streaked  strands 
with  Brownatone  as  thousands  of  women 
have  done. 
Here  is  what   we  positively  guarantee   for 

BROWNATONE 

x.     It  will  keep  the  hair  a  uniform  shade  for  years. 

2.  It  will  not  cause  dark  streaks  following  successive 
applications. 

3.  It  will  not  cause  coarse,  brittle,  harsh  hair  after 
continued  use. 

4.  It  is  Guaranteed  Harmless  to  hair,  scalp  or  shin. 

5.  Ic  produces  natural  shades  that  cannot  be  de- 
tected. 

6.  You  can  completely  control  the  depth  and  in- 
tensity of  shade. 

7.  You  can  test  for  the  proper  shade  before  tinting 
entire  head. 

8.  Hair  can  be  colored  quickly  —  no  waiting  for 
results. 

9.  Hair  tinted  with  Brownatone  will  not  rub  ofFor 
wash  out.  It  can  be  permanently  waved.  It  will 
withstand  the  effects  of  shampooing,  bathing, 
curling,  waving,  lotions  or  Brilliantine. 

10.  You  will  not  have  a  sticky,  messy  operation 
when  applying  Brownatone. 

11.  You  can  obtain  the  exact  shade  you  desire, 
whether  golden,  blond  or  varying  shades  of 
brown  or  black. 

You  will  be  using  the  preparation  that  is  standard 
throughout  all  sections  of  this  country  and  Canada — 
that  is  the  most  used  and  most  popular  hair  coloring 
preparation  on  the  market.  At  drug  and  department 
stores  50c  and  £1.50. 

Send  for  Trial  Bottle — test  it  at  home.  Check  the 
color  you  want  on  the  cot:  oon  below,  send  your  name 
and  address,  with  10c,  to  -;over  postage  and  packing. 
Valuable  booklet  on  hair  All  be  enclosed  free  of  cost. 

The  Kenton  Pharmacal  Company 

387  Coppin  Bldg.,  Covington,   Ky. 

Canada  Address:  Windsor,  Ont. 

Na  Tone  Lemonated  Shampoo,  nature's  hair 

wash,  cleanses  and  beautifies. 

At  dealers  or  direct  $oc. 

Enclosed  find  ioc  (coin  or  stamps)  for  which  send 
Trial  Bottle  of  Brownatone  and  booklet.  I  have 
checked  shade  preferred.  Golden  brown,  medium 
brown,  dark  brown,  black. 


N.i 


City 


.State. 


and  little  Virginia  frequently  grows  jealous  of 
her  mother's  screen  children.  Virginia  took 
this  lot  of  photographs,  spread  them  out  on  the 
floor  and  studied  them  intently.  Then  she  re- 
marked, wistfully: 

"Mother,  it  doesn't  seem  as  if  you  need  to 
have  quite  so  many  pictures  of  that  baby,  does 
it?" 

'"TWO  tennis  champions,  William  Tilden  of 
*■  these  United  States,  and  Manuel  Alonso  of 
Spain,  met  in  mighty  tennis  combat  before 
Pola  Negri,  sirenic  champion  of  Hollywood. 
Both  had  been  smiled  upon  by  the  gorgeous 
Pola  the  evening  previous  and  both  were  eager 
to  win  further  favor  in  her  eyes.  Tilden  ad- 
ministered a  terrible  beating  to  Alonso,  not 
even  showing  the  leniency  he  generally  accords 
a  rival. 

"Poor  Alonso,"  sighed  Pola. 

"  Ya,  poor  Alonso,"  grunted  Pola's  manager, 
Charles  Eyton.  "He  was  butchered  to  make  a 
Polish  holiday." 

EDDIE  SUTHERLAND,  most  recently 
Charlie  Chaplin's  assistant  director,  and 
whose  other  claims  to  fame  are  that  he  used  to 
be  a  very  good  juvenile,  is  Tommy  Meighan's 
nephew  and  Marjorie  Daw's  brand-new  hus- 
band, appeared  in  Hollywood  the  other  day 
with  his  left  arm  all  done  up  in  splints  and 
bandages.    Everyone  knows  Eddie  and  every- 


one likes  him — so  there  was  a  concerted  rush  to 
find  out  all  about  it. 

Whereupon,  with  a  perfectly  straight  face 
and  in  utmost  silence,  Eddie  handed  each  in- 
terested questioner  a  card  on  which  was  printed 
the  following: 

WHETHER  YOU  BELIEVE  IT  OR  NOT 

I  broke  my  arm  sliding  to  second  base  in 

a  ball  game  yesterday  afternoon.  It  will  be 

all  right  in  about  two  weeks.   I  thank  you. 

r^  ASTON  GLASS  has  retired  from  the  cast 
^-^of  "Maytime,"  in  which  he  was  to  play  the 
leading  role,  and  Harrison  Ford  is  to  take  his 
place.  According  to  Glass,  he  has  retired  be- 
cause of  the  unpleasant  notoriety  connected 
with  his  recent  arrest  in  Hollywood  on  a  charge 
of  disturbing  the  peace.  He  has  been  tried  once 
on  the  charge  and  the  jury  disagreed,  and  Glass 
is  awaiting  vindication,  he  declares,  before 
again  appearing  on  the  screen. 

The  general  feeling  in  Hollywood  is  that 
young  Glass  got  rather  a  raw  deal,  and  that  he 
was  largely  the  victim  of  a  war  going  on  at  tne 
time  politically  between  the  police  department 
of  Los  Angeles  and  the  churches. 

A/TRS.  JOHN  BARRYMORE,  who  was  for- 
-'•Vlrnerly  Mrs.  Leonard  Thomas  and  wrote 
under  the  pen  name  of  Michael  Strange,  has 
made  her  debut  as  a  screen  actress.  Mrs.  Bar- 
rymore  made  her  stage  debut  some  years  ago 


Edna  Purviance,  who  is  now  a  star  in  "A  Woman  of  Paris"  under  the  personal 

direction  of  no  less  an  impresario  than  Mr.  Charles  Chaplin.      Judqinq  from 

this  jnctnre,  Edna  is  not  so  sylphlike  and  spirituelle  as  of  yore 


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Photoplay  Magazine — Advertising  Section 


with  her  husband  in  "Clair  de  Lune,"  a  play 
from  her  own  pen.  She  is  conceded  to  be  one  of 
America's  most  beautiful  women,  although  she 
affects  an  eccentric,  almost  bizarre,  style  of 
dress. 

She  went  to  Europe  with  her  husband  for  a 
rest.  A  French  producer  was  struck  by  her 
beauty  and  offered  her  a  role  in  a  production  he 
was  about  to  make.  She  accepted  and  went  to 
work  in  a  studio  near  Versailles.  Now,  it  is 
said,  she  may  play  with  her  husband  in  "Beau 
Brummel. " 

THE  matter  of  how  a  picture  shall  be  cast  and 
by  whom  has  long  been  a  very  important 
one  in  Hollywood.  As  a  matter  of  fact,  today 
most  pictures  are  cast,  as  to  important  roles,  by 
the  director.    Which  is  as  it  should  be. 

A  few  companies,  chiefly  First  National, 
have  resorted  once  more  to  the  old  method  of 
casting  in  the  New  York  office  and  shoving  a 
cast  over  as  written,  whether  the  director  and 
scenario  writer  and  the  leading  player  like  it  or 
not.  Witness  Sylvia  Breamer  as  "The  Girl  of 
the  Golden  West,"  and  Owen  Moore  as  the 
Japanese  hero  of  "Thundergate." 


99 


Clara  Bow,  who  has  just  signed  a  very 
pretty,  contract  with  Preferred  Pictures. 
You  -will  remember  Clara  as  the  appeal- 
ing Utile  tomboy  of  that  whaling  classic 
"Down  to  the  Sea  in  Ships" 


But  the  finest  and  most  satisfactory  piece  of 
casting  of  the  year  seems  to  be  that  of  "Anna 
Christie,"  the  great  O'Neill  play  which  is  to  be 
transferred  to  the  screen  under  the  direction  of 
John  Griffith  Wray,who made  "Human  Wreck- 
age." 

Blanche  Sweet  was  everyone's  choice  for  the 
title  r6lej  and  William  Russell  is  a  marvelous 
selection,  for  the  sailor  hero,  while  the  securing 
of  George  Marion  for  Chris — the  part  he  cre- 
ated in  New  York — is  a  real  achievement  for 
pictures. 

Casting  is  a  fine  art — a  science.  The  casting 
done  by  Wray  in  Mrs.  Reid's  "Human  Wreck- 
age" was  nearly  perfect.  The  public  is  tre- 
mendously responsive  to  good  or  bad  casting. 
"Anna  Christie"  should  be  particularly  in-- 
teresting  from  this  standpoint. 

XTITA  NALDI,  who  plays  Cleopatra  in  the 
:*-™ prologue  of  "Lawful  Larceny,"  does  not 
live  up  to  her  own  conception  of  Egypt's  fam- 
ous queen.  That  is  not  Miss  Naldi's  fault, 
however.  Nature  made  her  black-haired  and 
stately,  and  she  stays  that  way,  doing  the  best 
she  can  with  the  gifts  she  has. 

"Cleopatra,  I  believe,"  says  Miss  Naldi, 
was  a  voluptuous,  red-haired  woman,  who 
had  a  marvelous  cook  and  a  good  wine  cellar. 
Antony  wasn't  fascinated  by  the  fact  that  she 
spoke  sixteen  languages.  It  was  the  spaghetti 
and  wine  she  served  that  made  a  hit  with  him. 
It  is  not  always  the  intellectual  woman  who 
can  capture  men.  There's  a  lot  in  the  old  say- 
ing that  'the  way  to  a  man's  heart  is  through 
his  stomach'." 


Why  Women  Smile 

As  they  never  did  before 

Teeth   are    prettier    today  —  Millions    combat    film 


Most  pictures  are  now  taken  with  a  smile, 
showing  pretty  teeth. 

Look  about  you.  Note  how  many  smiles 
now  show  glistening  teeth.  That  was 
not  always  so. 

Millions  of  people  are  now  using  a  new 
teeth-cleaning  method.  Every  day  they 
are  combating  the  dingy  film  on  teeth.  You 
will  also  do  so  when  you  make  this  test  and 
see  the  quick  results. 

Film  is  unsightly 

It  is  film  that  makes  teeth  dingy — that 
viscous  film  you  feel.  It  clings  to  teeth, 
gets  between  the  teeth 
and  stays.  If  not  fre- 
quently removed,  it 
may  form  cloudy 
coats.  It  is  also  the 
basis  of  tartar. 


world   over   are    advising    their   daily    use. 
A  new-type  paste 

A  new-type  tooth  paste  has  been  created, 
to  comply  with  all  modern  requirements. 
The  name  is  Pepsodent. 

These  two  film  combatants  are  embodied 
in  it.  Millions  of  people  have  adopted  it, 
largely  by  dental  advice.  To  the  homes  of 
fifty  nations  it  is  bringing  a  new  dental  era. 


Protect  the  Enamel 


That  film  absorbs 
stains,  so  the  teeth 
look  discolored.  It 
holds  food  substance 
which     ferments     and 

forms  acid.  It  holds  the  acid  in  contact 
with  the  teeth  to  cause  decay. 

Millions  of  germs  breed  in  it.  They, 
with  tartar,  are  the  chief  cause  of  pyorrhea. 
Thus  most  tooth  troubles  are  now  traced 
to  film. 

'.  Dental  science  has  long  been  seeking 
ways  to  fight  that  film.  Two  ways  have 
now  been  found.  Together  they  act  to 
curdle  the  film  and  then  remove  it. 

Able  authorities  have  proved  their 
efficiency.        Now     leading     dentists     the 

REG. US.     ^^—^^—^—*m~*^^ 

The  New- Day  Dentifrice 

A  scientific  film  combatant,  which 
whitens,  cleans  and  protects  the  teeth 
without  the  use  of  harmful  grit.  Now 
advised  by  leading  dentists  the  world 
over. 


Pepsodent  disintegrates  the  film, 
then  removes  it  with  an  agent  far 
softer  than  enamel.  Never  use  a 
Rim  '  combatant  which  contains 
harsh  grit. 


Pepsodent  brings  two  other  very 
important  effects.  It  multiplies  the 
starch  digestant  in  the  saliva.  That 
is  there  to  digest 
starch  deposits  which 
may  otherwise  cling 
and  form  acids.  It 
multiplies  the  alkalin- 
ity of  the  saliva.  That 
is  there  to  neutralize 
mouth  acids,  the  cause 
of  tooth  decay. 

Thus    every    use   of 
Pepsodent  gives  mani- 
fold power  to  Nature's  great  tooth-protect- 
ing forces  in  the  mouth. 

Results  are  quick 

Results  are  quick  and  convincing.  You 
can  see  and  feel  them 

Send  the  coupon  for  a  10-day  Tube.  Note 
how  clean  the  teeth  feel  after  using.  Mark 
the  absence  of  the  viscous  film.  See  how 
teeth  whiten  as  the  film-coats  disappear. 
Cut  out  the  coupon  now. 


10-Day  Tube  Free 

THE  PEPSODENT  COMPANY, 

Dept.  300,  1104  S.  Wabash  Ave.,  Chicago,  III. 
Mail  10-Day  Tube  of  Pepsodent  to 


Only  one  tube  to  a  family 


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IOO 


Photoplay  Magazine — Advertising  Section 


Time  has  changed  the  setting  of 
all  gems  but  pearls.  Their  subtle 
charm  has  ever  been  the  same 
against  the  beauty  of  woman's 
skin. 

Time  marks  30  years'  service  for 
the  makers  of  Deltah  Pearls. 
Jewelers  are  showing  the  many 
new  creations  and  exceptional 
values  in  Deltah  necklaces,  spe- 
cially made  to  celebrate  this  event. 
Now  is  the  opportune  time  to  buy 
that  gift  of  Deltah  Pearls. 

L.  HELLER  &  SON.  Inc. 

358  Fifth  Avenue.  New  Vork 
Park-  40,  Rue  Lnffitte 

r*o.id«*iee,  R.  L,       Lo.  Aneelcc  CoL 
CfclCBgO,  III.  Toronto,  C»n 

G«ncvt>,  SwIUcrland 


Introducing  Douglas  Fairbanks,  Jr.,  who  recently  returned  from  Europe  to  enter 

motion  pictures.    At  first,  Doug,  Sr.,  opposed  the  move  but  he  has  since  promised 

his  aid.     Here  Doug,  Jr.,  is  shown  at  his  favorite  diversion,  modeling 


TN  the  old  days,  Ben  Turpin  worked  for  a 
-•■small  motion  picture  company  in  Chicago, 
and  his  great  specialty  stunt  was  jumping  off 
one  of  the  bridges  into  the  river.  His  since- 
famous  cross-eyes  had  not  been  exploited  and 
that  was  his  principal  claim  to  consideration. 

A  big  Eastern  company,  one  of  the  first  to 
take  pictures  seriously,  came  to  Chicago  to 
make  some  location  scenes  and  the}'  needed 
someone  to  make  such  a  jump,  so  they  sent  for 
Turpin.  They  discussed  price  and  failed  to 
come  to  an  agreement.  Later  Turpin  said  to 
someone  on  the  lot: 

"Can  you  imagine  that  cheap  stiff  offering 
me  two  dollars  and  a  half  to  make  that  jump? 
I  told  him  five  was  my  lowest  figure  and  he 
wouldn't  pay  it." 

And  at  the  same  time  the  director  of  the  big 
company  was  remarking  to  his  assistant: 

"These  comedians  in  pictures  want  terrible 
salaries.  I  offered  to  pay  him  two-fifty  for  the 
jump  and  he  said  five  hundred  was  the  least 
we  could  get  him  for  and  we  can't  afford  that 
So  I  guess  we'll  have  to  do  without  it." 

IT'S  a  secret. 
Very  much  so. 

But  everyone  thinks  it's  true. 

A  little  bird  is  continually  whispering  that 
Richard  Dix  and  Lois  Wilson  are  soon  to  be- 
come man  and  wife. 

Richard  frankly  admits  that  it  will  happen  if 
Lois  will  say  the  coveted  "Yes,"  and  that,  as 
far  as  he's  concerned,  he  hopes  they  are  en- 
gaged, but  Lois  hasn't  told  him  yet. 

Lois  blushes  and  "can't  talk  about  it." 

So  there  you  are.  Certainly  it's  a  match  that 
would  delight  the  match-making  soul  of  Holly- 
wood, for  both  Lois  and  Richard  are  immensely 
)opular  and  have  the  respect  and  admiration 
of  the  entire  colony. 

THERE  seems  to  be  little  question  that  an 
engagement  exists  between  Edmund  Lowe 
and  Lilyan  Tashman,  "Follies"  beauty  and 
dancer.  Just  when  the  wedding  is  to  take  place 
has  not  been  announced. 

Mr.  Lowe  recently  arrived  in  Hollywood  to 
play  the  leading  role  in  "In  the  Palace  of  the 


King."  A  few  days  later  Miss  Tashman  fol- 
lowed him,  and  is  visiting  his  family  in  Lo 
Angeles.  The  engagement  is  one  of  long  stand 
ing  and  it  is  expected  that  they  will  be  marrie 
shortly.  Lilyan  Tashman,  by  the  way,  is  Nit 
Naldi's  chum  and  most  intimate  friend. 

T  ET  Valentino,  Novarro  and  Moreno  prate  of 
•'-'their  popularity.  Bull  Montana  bounced 
into  the  Metro  office  the  other  day  with  a 
bundle  of  2600  marks  which  a  German  fan  had 
sent  for  his  photograph.  Bull  was  a  millionaire 
for  a  minute.  And  then  he  learned  that  his 
wealth  was  equal  to  just  one-fourth  of  a  cent. 

"KJOT  so  very  many  years  ago,  a  very  young 
•^-^  man  and  a  pretty  young  girl  worked  on  the 
old  Vitagraph  lot.  He  was  an  assistant  cam- 
eraman and  she  was  an  extra. 

He  cast  his  eyes  upon  her  with  a  great  deal 
of  favor  and  finally  gave  her  his  picture  on 
which  he  wrote:  "Dear  Constance,  I  hope 
some  day  you  will  be  a  great  star  and  I  will  be 
your  cameraman.    Glen  McWilliams." 

They  are.  Constance  Talmadge  is  starring 
in  the  "Dangerous  Maid"  and  Glen  McWil- 
liams is  filming  it  behind  the  camera. 

JOHNNY  HINE  and  Bessie  Love—  it's  a  reg- 
J  ular  romance  an.  there  are  whispers  of  a  dia- 
mond on  the  third  finger  and  all  of  that. 
They've  been  seen  together  so  much  lately  that 
Hollywood  is  tremendously  interested. 

SID  GRAUM  AN,  at  whose  Egyptian  Theater 
in  Hollywood  "The  Covered  Wagon"  is 
showing,  is  by  way  of  being  a  fair  publicity 
man.  He  came  out  of  the  Ambassador  in  Los 
Angeles  after  a  party  recently,  and  looked  up 
and  down  for  his  sedan.  Not  seeing  it,  he  de- 
manded: 

"Where  is  my  covered  wagon?" 

DOROTHY  KNAPP— the  latest  contestant 
for  motion  picture  fame — has  become  a 
member  of  the  cast  of  "The  Vanities  of  1023," 
the  Broadway  show  that  is  starring  the  much- 
married  Peggy  Hopkins  Joyce.  Dorothy  looks 
lovelier  than  ever,  in  a  costume  that  is  half 


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ioi 


bathing  and  half  Spanish.  One  doesn't  wonder 
that  she  was  named  the  American  Venus  at  the 
.Madison  Square  Garden  show  this  winter.  Or 
that  she  carried  off  the  biggest  prizes  at  Atlan- 
tic City's  beauty  show  last  autumn. 

ROBERT  EDESON,  whose  eyebrows  have 
made  him  as  famous  on  the  screen  as  they 
did  on  the  stage,  became  an  actor  to  win  a  bet. 
His  father  was  on  the  stage,  but  he  put  his  son 
to  work  in  the  business  end  of  the  theater.  One 
day  the  stage  director  came  into  Edeson's 
office,  swearing  because  one  of  his  actors  had 
broken  his  contract.  Edeson,  who  was  busy 
with  a  column  of  figures,  said: 

"For  Heaven's  sake,  stop  kicking.  If  you 
keep  on  wailing  about  this,  I'll  have  to  play 
that  part  myself." 

"Bet  you  a  hundred  dollars  you're  afraid  to 
do  it,"  said  the  director,  and  Edeson  took  the 
bet.  He  made  his  appearance,  made  a  hit,  and 
has  been  at  it  ever  since. 

WHILE  she.  was  playing  her  immortal  per- 
formance of  Juliet  in  Los  Angeles,  Jane 
Cowl  had  several  conferences  with  Jane  Murfin 
over  the  picture  which  Mrs.  Murfin  has  just 
completed,  "The  Sign." 

Miss  Cowl  is  co-author  with  Mrs.  Murfin  of 
the  stage  play  from  which  the  picture  is  made. 
She  was  to  have  produced  it  in  New  York,  but 
her  unexpected  triumph  as  Juliet  kept  it  off  the 
boards  so  long  that  Mrs.  Murfin  decided  to 
make  the  picture.  May  Allison  is  playing  the 
role  which  Miss  Cowl  had  helped  to  write  for 
herself. 

IN  Harry  Carey's  thrilling  westerns  there's 
usually  a  villain  who  thirsts  for  Harry's 
blood.  And  the  villain  is  usually  one  un-hand- 
some  character  actor  by  the  name  Charles 
LeMoyne.  The  two  men — though  they've  al- 
ways been  rivals  on  the  screen — have  never 
carried  the  joke  too  far.  But  the  other  day,  at 
a  fair  somewhere  in  California,  they  suddenly 
found  themselves  tied  for  first  prize.  You  see 
they're  both  ranch  owners,  and  they  both  raise 
prize  bulls.    So  now  they're  rivals  in  truth. 

AND  now  Reginald  Denny  is  a  star.  He  will 
appear  in  four  Universal  pictures,  during 
the  coming  year— and  they  will  be  known  as 
Reginald  Denny  productions.  This  young  man, 


The  Grand  Duke  of  Hollywood  who,  upon 
the  eighth  of  October,  will  celebrate  his 
sixty-second  birthday.  Theodore  Roberts 
looks  in  this  picture  as  if  he  wouldn't 
be  averse  to  meeting  Firpo  in  the  ring 


\M  ikiThe 


(Comfort  of 
Sfon  Jiedttfi 


Do  you  know  that  the  first  signs  of  age 
are  shown  in  the  skin,  and  that  it  is 
the  surest  indicator  of  bodily  health? 

Is  it  right  then,  that  anything  so  important  should  be  given 
only  chance  attention?  Yet  that  is  the  attitude  many  women 
have  towards  their  skin,  and  it  is  why  they  look  old  at  thirty. 
Remember  that  a  soft,  smooth  complexion  is  not  to  be  had  after 
the  age  of  twenty  without  persistent  effort. 

Cleanliness  is  the  basis  of  beauty — yet  all  clean  skins  are 
not  beautiful.  Sometimes  the  cleansing  has  been  too  rough,  but 
more  often  the  soap  was  loo  harsh.  You  cannot  be  over  careful  in 
the  selection  of  your  toilet  soap.  Never  purchase  any  kind 
because  it  is  cheap.  To  save  at  the  expense  of  your  skin  is 
misplaced  economy. 

Give  yourself  a  beauty  treatment  with  Resinol  Soap  tonight, 
and  you  will  understand  why  thousands  of  women  consider  it 
the  ideal  cleanser.  But  it  is  more  than  a  cleanser.  By  power 
of  the  Resinol  it  contains,  it  builds  with  each  treatment  a 
healthy  resistance  to  germ  invasion.  As  these  little  parasites 
are  acknowledged  to  be  the  primary  cause  of  skin  disorders, 
why  not  try  to  prevent  their  development? 

The  daily  use  of  Resinol  Soap  will  give  you  the  comfort  of  knowing  that  your  skin  is 
properly  cleansed  and  protected.    Sold  by  the  cake  or  box  at  nil  dmr  and  toilet  goods  counters. 

"Simply  perfection  for  any  comple:  ion." 


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102 


Photoplay  Magazine — Advertising  Section 


jT^NOWN  only  to  the  ladies  of  a 
^1  certain  noble  family  of  Floren- 
V»_Jtine  days  was  a  magic  skin 
formula  —  its  use  rendering 
them  pre-eminent  in  courdy  circles  be- 
cause of  their  transcendent  beauty  of 
complexion.  Mysterious  and  wonder- 
ful! What  could  it  be?  Science  has  dis- 
closed '■  that  mysterious  something." 

SEM-PMY 
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Sem-pray  Jo-ve-nay  is  a  fragrant  skin  cleanser 
in  cake  form  which,  applied  to  the  face  at 
the  end  of  the  day,  nourishes  the  skin,  clean- 
ses the  pores  thoroughly  of  dirt,  banishes 
blemishes  and  all  impurities  —  doing  what 
soap  and  water  alone  cannot  do  because,  be- 
ing composed  of  oils  which  have  a  natural 
affinity  to  the  skin,  it  dissolves  the  oily  pore 
deposits  and  removes  them  without  irritating 
the  delicate  epidermis. 

Sem-pray  Jo-ve-nay  is  to  the  skin  what  the 
sun  is  to  the  flowers,  giving  that  delightful 
freshness  of  charmful  youth — leaving  the  skin 
with  the  smoothness  of  satin  —  withou!  an 
appearance  of  oil  or  shine. 

Send  your  name  and  address  for  a 
seven-day  trial  size  cake  free.  It 
will  show  you  why  those  who  use 
this  dainty  refreshing  complexion 
cake  are  indeed,  "always  young." 

The  Sem-pray  Jo-ve-nay  Co. 

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iim+j 


©  Keystone  View  Co. 


This  ice-floe — the  sight  of  which  will  make  a  polar  bear  wag  his  tail  happily,  and 

give  a  Mack  Sennett  bathing  beauty  an  attack  of  the  shivers — isn't  the  real  stuff, 

at  all.     Hot,  molten  paraffin  is  poured  upon  the  water,  where  it  quickly  congeals, 

presenting  a  most  realistic  imitation  of  "The  Waves  in  Winter" 


despite  his  name,  is  a  favorite  with  men  as  well 
as  with  the  less  gentle  sex.  It's  a  long  time 
since  any  new  star  has  been  so  widely  admired 
and  really  liked. 

"LJTOW  would  you  like  to  have  a  gown  to  move 
-*- -Which  you  had  to  hire  a  truck?  Well, 
Gloria  Swanson  has  one  in  "Zaza."  It  is  to 
other  gowns  what  the  Majestic  is  to  other  lin- 
ers. The  gown  proper  is  of  net  embroidered 
with  pearls  and  diamond  chips,  and  it  has  a 
deep  fringe,  embroidered  in  silver.  But  the 
train!  Ah,  there's  where  the  truck  comes  in. 
That  train  is  thirty  feet  long  and  six  feet  wide, 
and  is  made  of  silver  net  material.  On  the  net, 
in  silver  and  diamond  embroidery,  are  designs 
of  stars,  planets  and  crescents.  And  then  the 
train  is  edged  all  around  with  a  broad  band  of 
ostrich  plumes — three  gross  having  been  used. 
There  is  a  head  piece  of  silver  and  gold,  with 
pearl  and  diamond  ornaments,  all  topped  with 
ostrich  plumes,  and  Miss  Swanson  carries  a 
silver  staff,  tipped  with  plumes.  The  gown 
weighs  sixty  pounds,  the  train  accounting  for 
forty-five  pounds  of  the  sixty,  and  the  head- 
dress weighs  ten  pounds.  It  wasn't  the  weight 
that  made  the  truck  necessary,  of  course,  but 
that  creation  had  to  be  moved  to  the  studio 
without  crushing  or  rumpling,  and  the  truck 
was  the  best  way  to  do  it. 

HOOT  GIBSON  is  the  proud  father  of  a 
baby  girl.  He  immediately  sold  his  charm- 
ing Beverly  Hills  house  and  started  to  build  a 
much  larger  one.  If  you  could  see  dainty  little 
Miss  Gibson,  you'd  hardly  think  such  haste  to 
give  her  more  room  was  necessary,  but  Hoot 
says  a  baby  takes  up  more  room  than  anything 
he  ever  saw. 

PENNSYLVANIA  will  be  running  short  of 
young  society  people,  pretty  soon.  If  they're 
all  going  to  flock  to  the  pictures.  Now  it's 
pretty  Mary  Louise  Hartje,  Pittsburgh  debu- 
tante, and  grand-daughter  of  a  former  presi- 
dent of  the  Pennsylvania  railroad.  Mary 
Louise  arrived  in  Hollywood  with  four  motors, 
a  dozen  wardrobe  trunks,  a  retinue  of  servants 


and  a  mother.  And  they  say,  now,  that  she's 
been  given  a  place  in  the  harem  scene  of  a  forth- 
coming production. 

XJETTA  WESTCOTT,  who  is  known  upon 
■L^  the  London  stage  as  "  the  girl  with  the  most 
perfect  profile  in  England,"  came  to  the  land  of 
the  free  to  seek  her  fortune.  Two  hours  after 
she  walked  leisurely  down  the  gang  plank  of 
the  Adriatic  she  signed  a  contract  with  Pre- 
ferred Pictures,  and  two  days  later  she  was  on 
her  way  to  the  coast  to  make  her  motion  pic- 
ture debut. 

If  Merton  had  only  owned  a  profile,  the  road 
would  have  been  easier.  But  then  look  at 
Craig  Biddle's  profile — and  wonder! 

IT'S  been  so  long  since  we've  seen  Helen  Fer- 
guson out  with  anyone  but  Bill  Russell  that 
all  Hollywood  has  been  agog  over  her  recent  in- 
timate friendship  with  one  of  our  new  speed 
kings. 

Harry  Hartz,  who,  within  the  last  year,' has 
become  one  of  the  biggest  race  drivers  in  the 
country,  has  been  Helen's  escort  on  occasions 
too  numerous  to  mention.  Theaters,  dances 
and  even  luncheons,  have  seen  the  two  to- 
gether— and  now  everyone  is  wondering  if  the 
long  discussed  Bill  Russell-Helen  Ferguson 
match  is  off  and  if  Miss  Ferguson  has  decided 
to  try  the  thrill  of  being  a  racing  driver's  wife. 

DERELYS— or  is  it  Ann?— Perdue  is  still 
wiring  frantic  denials  of  her  engagement  to 
Craig  Biddle,  Jr.  Curiously  enough,  Derelys 
doesn't  seem  to  realize  that  the  rumored  en- 
gagement has  ceased  to  be  news — and  that  no- 
body cares  at  all  whether  she  is  engaged  to 
Craig.  However,  she's  a  girl  of  one  idea,  ap- 
parently— and  the  wires  are  apt  to  continue 
carrying  messages  from  Hollywood  to  New 
York  about  her  more  or  less  private  life. 

HAROLD  and  Mildred  Lloyd  are  back  from 
their  honeymoon — spent  in  having  a  per- 
fectly grand  and  glorious  time  in  New  York. 
"Mid"  brought  back  trunks  full  of  the  pretty, 
fluffy  clothes  Harold  likes,  and  they  both  de- 


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clare  they  had  the  time  of  their  lives, 
they're  awfully  glad  to  be  home 


Photoplay  Magazine — Advertising  Section 

But 


IO3 


T  YNN  FONTANNE,  who  made  "Dulcy" 
-"such  a  real  and  exasperating  little  person 
upon  the  legitimate  stage,  is  making  her  screen 
debut  in  "Second  Youth,"  for  Distinctive  Pic- 
tures. Lynn  will  play  opposite  her  husband — 
one  of  the  stage's  most  beloved  younger  come- 
dians, and  the  leading  man — himself — of  two 
pictures.  Alfred  Lunt,  of  course.  Do  you  re- 
member his  "Clarence"? 

GENEVIEVE  TOBIN,  too,  has  fallen  for 
the  lure  of  the  Cooper-Hewitts.  She  is  en- 
tering into  her  new  career  in  a  picture  that  is 
appropriately  named  "No  Mother  to  Guide 
Her."  What?  Yes,  a  Fox  picture,  of  course. 
Probably  named  by  Mr.  X. 

npHE  two  delightful  new  summer  clubs — the 
-*-  Beach  Club  and  the  Santa  Monica  Swim- 
ming Club — located  side  by  side  at  the  mouth 
of  Santa  Monica  canyon,  are  proving  the  most 
popular  summer  gathering  places  for  the  stars. 
The  clubs  are  very  smart  and  exclusive,  and  the 
memberships  include  many  of  the  Los  Angeles 
social  circle. 

Recently,  at  the  Swimming  Club,  I  saw 
Edna  Purviance,  in  a  bathing  dress  of  pale  blue 
with  a  big  blue  cape  and  frilled  blue  cap;  Tom- 
my Meighan  and  his  wife — she  wore  a  bright 


One  of  the  latest  screen  "discoveries." 
Weary  of  young  stars,  Tod  Browning 
went  out  and  picked  himself  John  Cvrrie, 
104  years  old  and  of  dark  complexion, 
and  has  given  him  a  prominent  part  in 
Arthur  Somers  Roche's  picture,  "The 
Day  of  Faith" 


HE  DANGER   LINE 


"THE  DANGER  LINE" 


There  is  a  tiny  ridge  on  the 
surface  of  your  teeth  where  the 
enamel  stops  and  the  softer  part 
of  the  tooth  begins.  Below  this 
ridge  is  The  Danger  Line. 

Usually,  you  can  detect  it  right 
at  the  margin  of  the  gums. 

What  Happens  There 

The  edges  of  your  gums  are 
rounded,  forming  a  little  V- 
shaped  crevice  at  The  Danger 
Line.  Food  particles  lodge  there 
and  ferment,  forming  acids  which 
attack  your  teeth.  This  is  Acid- 
Erosion — a  forerunner  of  tooth 
decay. 

Decay    at    The    Danger   Line 
spreads  rapidly.     The  gums  be- 
come infected,  causing  pyorrhea. 
Poisons  are  formed 
and   carry    to    the 
roots   of  the   teeth, 
where   abscesses 
start.     Such  condi- 
tions   may    cause 
rheumatism,   heart- 
disease   and   other 
serious  infections. 

Milk  of  magnesia 
is  the  best  product 
known  to  dental 
science  to  prevent 
the  ruthless  progress 
of  Acid-Erosion.  Its 


Sectional  drawing  of  an 
ordinary  tooth  and  gums 

"A"  is  The  Danger  Line, 
"B"  is  the  V-shaped  crevice. 
"C"  shows  recession  of 
gums.  "D"  is  decay  at  The 
Danger  Line.  Abscesses  form 
at  "E." 


use  promptly  and  safely  neutral- 
izes all  mouth  acids.  It  gets 
into  the  crevices  of  the  teeth  which 
your  tooth-brush  cannot  reach, 
and  protects  them  against  decay. 

In  Your  Dental  Cream 

A  delightful  new  dental  cream 
produced  by  the  Squibb  Labora- 
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Brushing  your  teeth  with 
Squibb's  Dental  Cream  protects 
them  from  Acid-Erosion  in  a 
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can.  It  brings  you  all  of  the  ad- 
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Magnesia — plus  the  essential 
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One  trial  of 
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Made  with  Squibb's  Milk  of  Magnesia 

THE   "PRICELESS   INGREDIENT"  OF  EVERY  PRODUCT 
IS     THE     HONOR     AND     INTEGRITY     OF     ITS    MAKER. 


> TEAR  OUT  AND  MAIL  TO 

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Enclosed  find  10  cents  to  cover  wrapping 
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Copyright  1923 

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Photoplay  Magazine — Advertising  Section 


4  We've  never  had  so 
much  money !" 

"T  TELL  you,  Tom,  it  was  a  lucky  day 
•■*>  for  both  of  us  when  you  sent  in  that 
I.  C.  S.  coupon.  You'd  never  be  where  you 
are  to-day  if  you  hadn't  decided  to  study 
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Spare-time  study  with  the  I.  C.  S.  is  winning  pro- 
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to  thousands  of  homes  all  over  the  world.  In  offices, 
shops,  stores,  mines,  mills  and  on  railroads,  I.  C.  S. 
trained  men  are  stepping  up  to  big  jobs,  over  the 
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Some  man  is  going  to  be  picked  for  it.  The  boss 
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other  men  and  women  have  done  in  the  last  31 
years,  just  as  more  than  180,000  men  are  doing 
io-day. 

The  first  step  these  men  took  was  to  mark  and 
mail  this  coupon.  Make  your  start  the  same  way — 
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No,  this  isn't  Washington  or  even  Albany.  Merely  the  proposed  studios  of 
Charlie  Ray  as  the  designers — and  the  press  agent — fancies  them.  Apparently 
Charlie  intends  to  make  the  make-believe  Mayflower  a  permanent  part  of  the 

landscape 


Adrian.  Michij.n. 


FIRESIDE     INDUSTRIES,  Department     410, 


green  jersey  suit,  with  a  green  rubber  cap  orna- 
mented with  big  daisies;  Julanne  Johnston, 
Alice  Terry — looking  aloof  and  dignified  in  a 
beach  chair  and  wearing  pink  crepe  de  chine 
and  a  big  black  leghorn  hat;  Viola  Dana  and 
Lefty  Flynn — Vi  in  a  bathing  dress  of  striped 
black  taffeta,  with  a  tight  bodice  and  a  frilled 
skirt;  Richard  Dix  and  Lois  Wilson;  Bryant 
Washburn  and  his  wife — Mabel  looked  so  cute 
in  a  swimming  suit  of  red  and  white,  and  a  red 
satin  bandana  effect  over  her  bobbed  hair; 
Harold  and  Mildred  Lloyd,  just  back  from 
New  York,  and  Harold  was  doing  diving  stunts 
with  the  famous  Duke  Kawanamako;  Phyllis 
Haver — and  really  it  was  fascinating  to  see 
Phyllis  in  a  bathing  suit  again.  After  all,  in  a 
bathing  suit,  there  is  nobody  quite  like  Phyllis. 

ANEW  double  for  Betty  Compson.  Looking 
enough  like  her  to  be  a  twin,  at  least!  Her 
name  is  Peggy  Jones,  and  she's  a  member  of  the 
pulchritudinous  chorus  of  "George  White's 
Scandals." 

IN  "Three  Wise  Fools,"  eight  of  the  cast  of 
eleven  players  have  been  on  the  legitimate 
stage  for  more  than  twenty  years.  That's 
some  record  for  the  so-called  youngest  art! 
But,  to  offset  the  age  limit — the  two  good- 
looking  young  people  who  play  the  juvenile 
leads,  Eleanor  Boardman  and  William  Haines, 
have  been  before  the  camera  only  about  fifteen 
months.  And  on  the  stage — never.  At  least 
hardly  ever.  If  anyone  should  ask  you,  Wil- 
liam H.  Crane,  dean  of  actors,  Claude  Gilling- 
water  and  Alec  B.  Francis  do  pretty  fine  work 
in  this  picture. 

WHILE  Pola,  Mary,  Doug  and  all  the  other 
dazzlers  of  the  day  were  appearing  at  the 
big  motion  picture  exposition  in  Los  Angeles, 
Charlie  Chaplin  sat  up  at  the  Montmartre  cafe 
in  Hollywood  watching  a  high  school  dance 
contest.  Charlie  appears  regularly  every  con- 
test night  and  applauds  his  favorites  vocifer- 
ously. 

THERE  has  been  a  great  deal  of  discussion 
about  artistic  temperament,  its  possibilities 
and  its  disadvantages.  John  Griffith  Wray  has 
a  large  framed  sign  which  hangs  directly  over 
his  desk,  the  first  thing  any  actor  sees  when  he 


enters  the  director's  office.  On  it  is  printed  in 
large  letters  the  following  quotation  from 
Chesterton: 

"The  artistic  temperament  is  a  disease  that 
afflicts  amateurs.  It  is  a  disease  which  arises 
from  men  not  having  sufficient  power  of  ex- 
pression to  utter  and  get  rid  of  the  element  of 
art  in  their  being.  It  is  healthful  to  every  sane 
man  to  utter  the  art  within  him;  it  is  essential 
to  every  sane  man  to  get  rid  of  the  art  within 
him  at  all  costs.  Artists  of  a  large  and  whole- 
some vitality  get  rid  of  their  art  easily,  as  they 
breathe  easily  or  perspire  easily.  But  in  ar- 
tists of  less  force  the  thing  becomes  a  pressure, 
and  produces  a  definite  pain,  which  is  called  the 
artistic  temperament.  Thus,  very  great  artists 
are  able  to  be  ordinary  men — men  like  Shakes- 
peare and  Browning." 

It  need  hardly  be  said  that  this  is  the  real 
explanation  of  the  thing  which  has  puzzled  sq 
many  dilettante  critics,  the  problem  of  the 
extreme  ordinariness  of  the  behavior  of  so 
many  great  geniuses. 

"IS/TAZIMOVA — not  a  bit  discouraged  by  the 
■l"^"  failure  of  "Dagmar,"  her  legitimate  play 
of  last  season — will  appear  in  a  play  that  is  in- 
terestingly named,  "Tangled  Toes."  Alia 
didn't  have  much  on,  in  which  to  tangle  her 
toes,  in  "Salome,"  so  we  have  hopes  for  this. 
The  name  suggests  the  well  known  brand  of 
sticky  fly  paper  to  us,  and  that  is  all. 

PDWIN  CAREWE,  in  his  production  of 
-'—'"The  Bad  Man,"  is  using  aeroplanes  to 
transport  members  of  his  cast  to  location. 
This  is  due  to  the  fact  that  Holbrook  Blinn  and 
Charles  Sellon  are  also  appearing  in  a  stage 
production  of  "The  Bad  Man"  at  a  Los 
Angeles  theater  and  must  be  back  from  Bakers- 
field,  Cal.,  where  the  picture  is  being  filmed, 
every  evening  in  time  for  the  night  per- 
formance. 

HpHE  Hollywood  Bowl  symphony  concerts 
-*-  hav«  proved  a  great  source  of  enjoyment 
and  relaxation  to  the  film  stars  this  summer. 
Four  concerts  a  week  by  an  orchestra  of  90 
pieces,  conducted  by  Emil  Oberhoffer,  have 
been  given,  and  at  every  performance  the 
boxes  have  been  filled  with  screen  celebrities. 
The  Bowl  is  an  outdoor  auditorium,  situated 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


in  the  Hollywood  hills  just  five  minutes' drive 
from  the  studios. 

Mae  Murray  paid  for  a  special  concert  one 
Saturday  afternoon  recently  for  the  crippled 
children,  thousands  of  whom  were  brought  out 
to  the  Bowl  to  hear  the  music.  The  Cecil  and 
William  de  Milles,  Charlie  Chaplin,  Pola  Negri, 
Mr.  and  Mrs.  Charles  Ray,  Florence  Vidor, 
Colleen  Moore,  Mr.  and  Mrs.  Fred  Niblo,  Mr. 
and  Mrs.  Conrad  Nagel,  Mr.  and  Mrs.  Douglas 
MacLean,  Norma  and  Constance  Talmadge, 
May  McAvoy,  Lois  Wilson,  Richard  Dix  and 
Elinor  Glynare  among  those  who  are  attending 
regularly. 

CHARLES  RAY  is  going  into  the  restaurant 
business.  He's  not  deserting  the  silent 
drama,  however — merely  planning  to  float  the 
replica  of  the  Mayflower,  used  in  "The  Court- 
ship of  Miles  Standish,"  in  an  artificial  lake 
near  his  new  studios,  converting  it  into  a 
restaurant. 

THE  Los  Angeles  opening  of  "Human 
Wreckage,"  Mrs.  Wallace  Reid's  dramatic 
picture  against  the  drug  evil,  was  attended  by 
one  of  the  most  distinguished  audiences  ever 
gathered  in  Los  Angeles.  The  street  was 
jammed  for  a  block,  with  lines  waiting  to  see 
the  first  run  of  this  most  talked-of  picture  of 
the  year,  and  to  see  the  stars  as  they  entered. 
Joe  Schenck  and  Norma  Talmadge  were 
there,  with  Mr.  and  Mrs.  Thomas  H.  Ince. 
Constance  Talmadge  attended,  and  Madame 
Elinor  Glyn,  accompanied  by  Charles  Whit- 
taker,  scenario  writer  and  dramatist.  Other 
stars  of  note  who  appeared  were  May  Allison, 
Colleen  Moore,  Blanche  Sweet,  Corinne  Grif- 
fith, Bessie  Love,  Carmel  Myers,  Eileen  Percy, 
Richard  Dix,  Lois  Wilson,  Mr.  and  Mrs. 
Douglas  MacLean,  and  Will  Rogers. 

GALLAGHER  and  Shean  are  now  on  the 
screen.  (It  rhymes!)  In  a  picture  en- 
titled "Around  the  Town  with  Mr.  Gallagher 
and  Mr.  Shean."  Will  it — or  will  it  not 
go  over  without  the  lyrics?  You  remember 
what  the  judge  said  about  their  act! 

[  CONTINUED  ON  PAGE  131  ] 


The  Shadow  Stage 

[  CONTINUED  FROM  PAGE  76  ] 

SKID  PROOF— Fox 

A  NOTHER  transcontinental  racing  picture 
■*» — built  after  the  formula  that  Wally  Reid 
made  famous — and  that  no  one  else  has  ever 
been  able  to  duplicate.  The  action  is  smooth 
and  swift,  however,  and  there  is  enough  plot  to 
keep  an  audience  interested.  There  is  an  un- 
scrupulous driver  who  tries  to  throw  the  race — 
and  an  honest  boy  who  takes  his  place,  and 
wins.    You  know  the  rest. 

DON'T  MARRY  FOR  MONEY— Apollo 

•"TWENTY  years  ago  this  might  have  been 
■*-  hailed  as  a  great  picture.  In  those  days  it 
was  not  for  audiences  "  to  reason  why."  TJieirs 
but  to  see  and  applaud.  But  we  are  wiser  now. 
When  the  country  girl  goes  to  the  city,  marries 
the  rich  man  for  his  money,  and  complications 
follow,  we  wonder  that  the  lady  didn't  lie  more 
cleverly,  and  that  the  husband  didn't  guess  the 
.  truth  more  quickly,  and  wait  impatiently  for  a 
conclusion  we  have  already  foreseen.  One 
swallow  may  make  a  Spring,  but  one  formula 
won't  indefinitely  make  successful  pictures. 

HELL'S  HOLE— Fox 

TTWO  cowpunchers  are  thrown  together  in  a 
-*-  restaurant  fight,  and  decide  to  face  the  hard 
world  side  by  side.  And  then  the  melodrama 
commences,  and  events  follow  each  other  in 
such  rapid-fire  succession  that  it's  hard  to  tell 
where  fact  ceases  and  fancy  begins.  Lefty 
Flynn,  in  a  stetson,  is  handsome  enough  to 
please  anyone  and  Charles  Jones  isn't  hard  to 
look  at.    And  then,  too,  there's  a  trick  ending. 


I05 


1914 
60.000 

1910 

40.Q00    '  *( 


These  groups  of  stockholders  illustrate  the  rapid  growth  in  ownership  of  the  Bell  Sysiem. 

A  Community  of  Owners  Nation-wide 


"Who  owns  the  company?" 
"What  is  behind  it?"  These 
questions  are  asked  in  apprais- 
ing the  soundness  of  a  business 
and  in  determining  its  aims. 

The  American  Telephone 
and  Telegraph  Company  is 
owned  by  more  than  270,000 
people  living  in  every  state  in 
the  Union.  Could  the  stock- 
holders of  the  Bell  System  be 
gathered  to  one  place,  they 
would  equal  the  population  of 
a  city  about  the  size  of  Provi- 
dence or  Denver. 

They  constitute  a  representa- 
tive cross-section  of  American 
citizenship.  Among  them,  of 
course,  are  bankers  and  men  of 
large  affairs;  for  the  idea  of 


ownership  in  the  Bell  System 
appeals  to  sound  business  judg- 
ment and  a  trained  sense  of 
values. 

In  this  community  of  owners 
are  the  average  man  and  woman, 
the  storekeeper,  the  clerk,  the 
salesman,  the  professional  man, 
the  farmer  and  the  housewife — 
users  of  the  telephone  who  with 
their  savings  have  purchased  a 
share  in  its  ownership.  The 
average  individual  holding  is 
but  twenty-six  shares. 

No  institution  is  more  popu- 
larly owned  than  the  Bell 
System,  none  has  its  shares  dis- 
tributed more  widely.  In  the 
truest  sense  it  is  owned  by  those 
it  serves. 


"Bell    System" 

American  Telephone  and  Telegraph  Companv 
And  Associated   Companies 

One    Policy,    One    System,    Universal    Service,    and    all    directed 
toward    Better    Service 


The  Hand  That  Rocks  The  Cradle 

Can  Also  Swing  The  Brush 

WHITING-ADAMS 

BRUSHES 

Insure  even  tempers  on  odd  jobs. 

Send  for  Illustrated  Literature 
JOHN  L.  WHITING-J.  J.  ADAMS  CO., Boston, U.S.A. 

Brush  Manufacturers  for  Over  111  Years  and  the 
j'  ^.    *•  HLJI  \    ~^<^^>L-^  Largest  in  the  World 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


io6 


Photoplay  Magazine — Advertising  Section 


^rauiiair  Jdanished 
in  fifteen  minutes 

Here  is  one  of  many  testimonial 
letters  on  file  in  our  office: — 

"  I  am  more  than  pleased  with  the 
results  obtained  by  Inecto  Rapid,  and 
consider  it  the  only  hair  coloring  on  the 
market.  For  anyone  who  has  used  other 
hair  colorings  Inecto  Rapid  seems  too 
good  to  be  true." — J.B.T. 

This  letter  proves  the  experience  of 
thousands  of  women  who  have  sought  to 
improve  and  prolong  their  youthful  ap- 
pearance by  coloring  their  hair,  but  have 
often  met  with  disappointment  and 
humiliation,  until  the  discovery  of 


INECTO 


Name 


3 


Address 

City State. 


We  hear  this  same  story  daily  from  women 
who  are  now  using  Inecto  Rapid  with  com- 
plete and  enthusiastic  success  after  adopt- 
ing a  very  simple  treatment  to  remove  the 
harmful  coloring  they  used  heretofore. 

Inecto  Rapid-  gives  an  appearance  that 
absolutely  defies  detection  from  natural. 
Never  produces  streaks,  never  makes  the 
hair  too  dark  or  matty  looking,  but  always 
gives  the  correct  shade  and  a  beautiful 
lustre  to  the  hair. 

For  women  who  have  naturally  gray, 
streaked  or  dull  hair,  Inecto  Rapid  will  color 
their  hair  to  any  desired  shade  in  15  min- 
utes. •  It  is  specifically  guaranteed  to  pro- 
duce the  original  color  and  texture  of  the 
hair. 

Inecto  Rapid  has  been  adopted  by  such 
ultra-fashionable  shops  as  the  Waldorf- 
Astoria,  the  Plaza,  Commodore,  Pennsyl- 
vania and  others  in  New  York;  by  5,000 
Marinello  Shops  throughout  the  country, 
and  by  the  largest  hairdressing  parlor  in 
the  world,  Burnham'sof  Chicago. 

When  a  woman's  hair  became  gray, 
streaked  or  faded,  she  either  accepted  the 
inevitable  sign  of  age  or  applied  some  so- 
called  restorative  with  its  inharmonious  and 
oftentimes  destructive  results.  Inecto  Rapid, 
however,  is  guaranteed.  It  operates  by  re- 
pigmentation  instead  of  merely  coating  the 
surface.  It  is  harmless  to  hair  or  growth, 
never  rubs  off;  is  unaffected  by  perspiration, 
sunshine,  salt  water,  shampooing,  Turkish 
or  Russian  baths,  and  is  controllable  to  the 
minutest  degree  from  raven  black  to  radiant 
blonde.  Women  may  successfully  apply  it 
in  the  privacy  of  their  own  homes. 

SEND  NO  MONEY 

Just  mail  us  your  name  on  the  coupon  and 
we  will  send  you  our  Beauty  Analysis  Chart, 
enabling  you  to  select  the  most  becoming 
color  for  your  hair. 

INECTO,  Inc. 

Laboratories  and  Salons, 
33-35  West  46th  St.,  New  York,  N.Y. 

Lnrsest  Manufacturer!!  of  Hair  Coloring  in  the  World.  . 


INECTO,  Inc. 

33-35  West  46th  St.,  New  York,  N.Y. 

Gentlemen:  Please  send  me  gratis  full  details  ■ 
of  Inecto  Rapid    and   the   "Beauty    Analysis 
Chart,"  Form  A-16. 


^ 


=>^U©) 


THE  STEEL  TRAIL— Universal 

A  SERIAL  picture  that  centers  around  the 
■*  Mrailding  of  a  railroad.  Not  historical,  as 
are  most  of  the  Universal  serials — but  interest- 
ing and  full  of  thrills.  Edith  Johnson  and 
William  Duncan  have  never  had  a  better  vehi- 
cle, what  with  wrecks,  and  falls  from  cliffs  and 
forest  fires  and  everything!  The  construction 
work  on  the  railroad  seems  very  real — and  the 
numerous  villains  are  extremely  wicked! 

RADIO  MANIA— Hodkinson 

HPHIS  was  reviewed,  in  the  issue  of  March, 
-*-  1923,  under  the  title  of  M.  A.  R.  S.  as  a 
Teleview  production.  It  is  issued,  now,  with- 
out the  Teleview  glasses,  as  a  regular  photo- 
play. A  story  of  Mars  and  an  inventor  who 
gets  radio  on  the  brain. 

SHADOWS  OF  THE  NORTH— Universal 

TpHE  chesty  William  Desmond  stalks  through 
*■  this  picture  like  an  avenging  angel.  He  has 
an  awfully  hard  time  with  a  band  of  claim 
jumpers  who  annex  his  gold  mine  —  and  the 
hardest  part  of  it  all  is  that  his  sweetheart  is 
the  daughter  of  one  of  the  liveliest  jumpers. 
Everything  ends  happily  after  a  fight,  a 
poisoning,  and  some  wonderful  shots  of  a  canoe 
shooting  the  rapids  of  a  busy  Canadian  river. 

MOTHERS-IN-LAW— Preferred 

A  REGULAR  Gasnier  Production,  made 
after  the  same  pattern  that  he  so  often 
uses.  A  lot  of  glittery  frocks,  cut  low  in  the 
back,  and  a  goodly  number  of  jazz  parties. 
All  to  exploit  the  triangle  of  a  mother,  a  son 
and  the  son's  wife.  There  is  a  baby,  too — 
which  makes  the  triangle  something  else  again ! 
Not  recommended  too  highly,  unless  you 
happen  to  like  that  sort  of  thing. 

LEGALLY  DEAD— Universal 

MILTON  SILLS,  as  a  newspaper  reporter 
married  to  a  nagging  woman  in  reel  one, 
departs  for  points  west  and  a  new  life.  Un- 
justly accused  of  murder,  he  is  condemned  to 
die,  and  does,  but  his  old  friend  Dr.  Gezler  ad- 
ministers adrenalin  and  brings  him  back  to  life 
— and  the  happy  ending.  So  far  as  its  value 
and  importance  as  a  photoplay  are  concerned, 
"Legally  Dead"  might  as  well  be  the  Declara- 
tion of  Independence.  This  melodrama  is  a 
cold  theatricality,  singularly  lacking  in  thrills, 
suspense  and  excitement. 

THE  MIRACLE  BABY—F.  B.  O. 

NOT  much  of  a  miracle,  in  this  story,  but  a 
very  nice  baby.  And  Harry  Carey  in  a 
number  of  situations  that  are  quite  typical. 
The  locale  is  the  northern  gold  country,  instead 
of  the  great  west  where  men  are  men — that  is 
the  main  difference  from  all  other  Carey  vehi- 
cles. But  there  is,  as  usual,  a  murder  and  a 
false  accusation  and  the  hero  vindicated  at  the 
last. 

THE  PURPLE  HIGHWAY— Paramount 

WHY  do  little  housemaids,  with  good 
voices,  always  become  stars  over  night — 
in  fiction?  They  never  do,  in  real  life.  In  this 
picture  Madge  Kennedy  is  the  girl  with  the 
voice — and,  remembering  her  delicious  gift  of 
comedy,  she  seems  miscast.  A  silly  plot,  with 
overdrawn  situations  and  inept  titles.  A  fam- 
ily picture — that  much  may  be  said  for  it.  But 
a  tiresome  one. 

LITTLE  JOHNNY  JONES— Warner 
Brothers 

JOHNNY  HINES  is  very  good  in  this  Cohan 
J  play — which  made  "Give  my  regard  to 
Broadway"  famous.  Johnny  looks  like  a 
jockey  and  acts  like  one — and  that  helps  a  lot. 
There  are  some  realistic  sets,  the  big  race  seems 
on  the  level,  and  a  game  of  human  checkers, 
at  a  Derby  ball,  is  a  pretty  novelty.  The 
supporting  cast  is  good — with  Brownie,  the 
dog,  at  the  top  of  the  heap! 


-*&:> 


The  dread  Pyorrhea 
begins  with  bleeding  gams 


PYORRHEA'S  infecting  germs  cause 
many   ills.     Medical    science    has 
proved  this. 

Many  diseased  conditions  are  now 
known  often  to  be  theresult  of  Pyorrhea 
germs  that  breed  in  pockets  about  the 
teeth.  Rheumatism,  anaemia,  nervous 
disorders  and  other  diseases  have 
been  traced  in  many  cases  to  this 
Pyorrhea  infection. 

Don't  let  Pyorrhea  work  its  wicked 
will  on  your  body.  Visit  your  dentist 
frequently  for  teeth  and  gum  in- 
spection. 

And  watch  your  gums  yourself. 
Pyorrhea,  which  afflicts  /our  out 
of  five  people  over  forty,  begins 
with   tender  and  bleeding  gums; 
then  the  gums  recede,  the  teeth  de- 
cay ,  loosen  and  fall  out,  or  must  be 
extracted  to  rid  the  system  of  the 
poisons  generated  at  their  base. 

Forhan's  For  the  Gums  will 
prevent  Pyorrhea — or  check  its 
progress — if  used  in  time  and 
used  consistently .  Ordinary  den- 
tifrices cannot  do  this.  Forhan's 
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—the  teeth  white  and  clean. 
Start  using  it  today.   If  gum- 
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diately  for  special  treatment         |s 

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Montreal 


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FOR  THE  GUMS 


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■HI 


Photoplay  Magazine — Advertising  Section 
ALIAS  THE  NIGHT  WIND— Fox 

A  MAN  wrongfully  accused  by  his  employer 
disappears  into  thin  air — much  to  the 
annoyance  of  a  number  of  detectives.  The 
picture  shows  a  series  of  hair  breadth  escapes 
from  the  earnest  young  Val  O'Farrels — with  a 
capture,  finally,  by  the  blonde  young  lady 
detective  who  is  really — but  we  musn't  dis- 
close the  plot!  Nobody'll  ever  guess  it  if  we 
don't — (heavy  sarcasm.) 

FIGHTING  BLOOD   (Second  Series)— 
F.  B.  O. 

AVERY  blonde  and  very  new  leading  lady 
doesn't  make  this  second  Witwer  series 
one  shade  better  than  the  first.  The  O'Hara 
boy — supposed  to  have  a  Barrymore  face  and 
Dempsey  fists — is  still  the  fighter,  though  now 
he  is  an  ex-champ.  None  of  these  prize-ring 
serials  will  ever  equal  Universale  first  "  Leather 
Pusher"  stories.  At  least  that's  our  opinion! 
Family  stuff,  however. 

THE  ELEVENTH  HOUR— Fox 

"D  OARING  melodrama;  the  twelve  year  old's 
-^-delight!  Shirley  Mason — quite  as  dainty 
as  her  stellar  sister  Viola — shares  starring 
honors  with  Charles  Jones,  and  there  isn't  very 
much  that  doesn't  happen  to  the  two  of  them. 
But  there  is  a  happy  ending,  of  course,  and 
true  love  triumphs.  Everyone  who  likes  vivid 
adventure  will  enjoy  this — although  some 
hectic  moments  will  be  hard  on  the  little  ones. 


IO7 


" — whywasithe 
never  returned?" 


LOYAL  LIVES— Vita  graph 

TTIE  romance  that  lies  behind  the  grey  of 
*■  a  postman's  uniform  and  the  worn  leather 
of  his  pack.  A  simple  story,  with  a  great  deal 
of  pleasant  hokum,  about  simply  kindle  folk. 
Brandon  Tynan  and  Mary  Carr  make  some 
of  the  situations  and  many  of  the  close-ups 
intensely  real.  The  plot  may  be  saccharine  at 
times,  and  at  times  artificial,  but  it  is  always 
gripping  and  clean. 


LOST  IN  A  BIG  CITY— Arrow 

SOMETIMES  the  plot  and  the  continuity 
get  mislaid,  too — but  this  play  of  another 
generation  doesn't  mind  a  little  thing  like  that! 
There's  so  much  going  on,  all  of  the  time,  that 
the  slighter  incongruities  don't  worry  anyone. 
The  formula  is  ancient,  but  it's  usually  suc- 
cessful. The  action  doesn't  need  explaining 
— for,  though  there's  plenty  of  it — the  result 
isn't  anything  to  write  home  about.  John 
Lowell  is  featured. 


Can  a  cross-eyed  man 
be  romantic? 

It  doesn't  sound  reasonable,  does  it? 
But  even  a  cross-eyed  man  may  have 
visions  that  are  straight.  So  Herb 
Howe  has  had  a  heart-to-heart  talk 
with  Ben  Turpin  about  the  one  great 
romance  of  his  life  and  he  will  tell 
the  readers  of  Photoplay  all  about  it 
in  the  November  number.  Mr.  Tur- 
pin has  a  coy,  sidewise  manner  of 
looking  at  beautiful  women  that  does 
not  seem  to  mark  him  as  a  Lothario. 
But  you  never  can  tell. 

Get  the  T^ovember  number 
of  Photoplay  and  read  about 

Ben  Turpin's  Romance 


She  never  really 

knew  why 

HE  came  into  her  life  like   some   wonderful    new   perfume. 
Never   before  had  any   man   awakened  in  her  heart  the 
tingling  romance  that  his  presence  seemed  to  bring. 

And  yet  his  attentions  were  destined  to  last  only  one  short 
evening. 

They  had  met  and  danced.  He  had  seemed  quite  interested. 
She  was  a  beautiful  girl.  And  still  he  left  her  that  night  saying 
not  a  word  about  seeing  her  again. 

She  never  saw  or  heard  from  him  and  reallv  never  knew  whv. 


That's  the  insidious  thing  about 
halitosis  (unpleasant  breath).  You, 
yourself,  rarely  know  when  you 
have  it.  And  even  your  closest 
friends  won't  tell  you. 

Sometimes,  of  course,  halitosis 
comes  from  some  deep-seated  organic 
disorder  that  requires  professional 
advice.  But  usually — and  for- 
tunately— halitosis  is  only  a  local 
condition  that  yields  to  the  regular 
use  of  Listerine  as  a  mouth-wash 
and  gargle. 

It  is  an  interestingthing  that  this 
well-known  antiseptic  that  has  been 
in  use  for  years  for  surgical  dress- 
ings, possesses  these  peculiar  prop- 


erties as  a  breath  deodorant.  It 
halts  food  fermentation  in  the 
mouth  and  leaves  the  breath  sweet, 
fresh  and  clean.  So  the  systematic 
use  of  Listerine  puts  you  on  the  safe 
and  polite  side.  You  know  your 
breath  is  right.  Fastidious  people 
everywhere  are  making  it  a  regular 
part  of  their  daily  routine. 

Your  druggist  will  supply  you 
with  Listerine.  He  sells  lots  of  it. 
It  has  dozens  of  different  uses  as  a 
safe  antiseptic  and  has  been  trusted 
as  such  for  a  half  century.  Read  the 
interesting  little  booklet  that  comes 
with  every  \bottle. — Lambert  Phar- 
macal  Company, Saivt  Louis,  U.S.A . 


HALITOSIS 


use 
LISTERINE 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


ioS 


Photoplay  Magazine— Advertising  Section 

The  Stuffed  Shirt 

[  CONTINUED  FROM  PAGE  48  ] 


Pay,  famous  motion 
Uire  star,  says; 
.  "I  love  exquisite  perfumes 
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Established  1855  I 

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"N/TORMA  became  aware  of  an  annoying 
■L^  habit  of  William- B.  Gaites.  Twice  every 
evening  he  walked  past  the  house  which  she 
and  her  mother  were  occupying  for  the  season. 
Of  course  the  streets  were  free  to  anybody  and 
doubtless  his  dog  did  need  exercise  but  she 
thought  it  would  have  been  more  delicate  of 
Bill  to  have  chosen  some  other  district  for  his 
stroll.     Under  the  circumstances. 

Unless,  of  course,  he  just  couldn't  keep  away. 
If  that  was  the  case  no  woman  could  be  very 
angry.  Tribute  is  tribute  even  from  varlets, 
knaves  and  poltroons. 

She  watched  him  on  several  occasions  from 
a  darkened  window,  wishing  with  all  her  sick 
heart  that  he  were  the  man  he  appeared  to  be. 

But  if  he  hoped  that  sometime  she  would 
relent  and  come  out, — and  maybe  meet  him 
accidentally,— he  was  engaged  in  an  exceed- 
ingly forlorn  hope.  No,  not  even  if  her  heart 
told  her  memory  it  must  be  mistaken,- — that 
the  scene  that  stood  between  her  and  happi- 
ness was  only  a  nightmare  that  she  might  as 
well  wake  up  from  and  forget. 

She  and  her  mother  were  invited  to  Santa 
Barbara  for  a  few  days  and  Norma  accepted 
the  invitation  with  anticipatory  pleasure.  It 
would  be  a  blessed  relief  to  leave  behind  any 
possibility  of  meeting  her  fallen  star. 

But  she  did  not  have  so  much  fun  as  she 
expected.  The  mountains  seemed  colder  and 
gloomier  than  the  hills  of  Hollywood  and  the 
socially  eminent  people  who  entertained  so 
correctly  were  not  so  interesting  as  the  naively 
young  and  egotistical  members  of  the  cinema 
clan. 

It  ought  to  have  been  a  relief  to  have  been 
able  to  gaze  out  of  her  window  without  the 
danger  of  having  the  view  obstructed  by  the 
stalking,  tragic  figure  of  an  overgrown  boy, 
but  it  wasn't. 

And  they  came  home  two  days  earlier  than 
they  had  intended. 

There  were  flowers  all  over  the  house, — 
mostly  violets, — inexpensive  but  her  favorite. 

"Who  did  this,  Dextrous?"  she  demanded 
of  the  maid.  (Full  name  Ambi  Dextrous  if 
anyone  should  enquire.)  Norma  knew  who 
had  sent  the  flowers  but  she  asked  anyway. 

"Mr.  Bill  brang  them  poesies,"  Dextrous 
replied,  "and  arranged  them  hisself.  He  said 
it  seemed  a  little  more  lak  you  was  here. 
Every  mornin'  he  fetched  'em  but  he  gimme  a 
ten  dollar  bill  not  to  tell.  I  suppose  I'll  have 
to  give  that  back  now  only  I  can't  'cause  I 
spent  it." 

"Nevermind,"  Norma  decided  abstractedly, 
noting  the  orchids  in  front  of  a  photograph  of 
herself.  Why  couldn't  a  man  with  heart- 
cramping  ideas  like  that  be  really  a  man? 
"I'm  not  going  to  say  you  told  me."  Which 
was  true.  She  did  not  expect  to  talk  to  him 
on  any  subject  again, — ever. 

VI 

"LJOLLYWOOD  is  doubtless  one  of  the  most 
■*■  -*-peaceful  communities  in  the  world.  Still, 
there  are  ruffians  even  there  and  one  evening 
two  of  them  accosted  Norma  when  she  was  on 
her  way  from  home  to  the  repair  shop  where 
her  car  had  been  parked  for  a  spring  replace- 
ment. 

It  was  just  after  dusk  and  Norma  had  never 
thought  of  its  being  dangerous  to  walk  abroad 
alone.  Her  surprise  was  all  the  greater  there- 
fore when  a  rough-looking  man  grabbed  her 
by  the  arm  and  told  her  to  be  quiet  while 
another  equally  disreputable  human  specimen 
confiscated  her  handbag  and  started  to  strip 
her  rings  from  her  fingers. 

Forty-five  seconds  later  one  of  them  was 
lying  on  the  ground, — knocked  out, — and  the 
other  was  running  up  the  street  where  he 
was  apparently  late  for  an  appointment  about 
two  miles  away. 


William  B.  Gaites  handed  her  back  her  bag. 

Norma  took  it  silently.  But  he  dropped 
into  step  beside  her  even  if  she  had  not  invited 
him. 

Finally  Norma  started  the  conversation 
herself.     "Why  did  you  do  it,  Bill?" 

"Do  what?" 

"  Frame  up  this  attack  and  rescue." 

"Well,  I  had  to  talk  to  you  for  one  thing. 
Besides,  I  thought  maybe  I  could  put  it  over 
and  make  you  think  it  was  real.  I  just  natu- 
rally had  to  try  to  do  something  to  reinstate 
myself  with  the  girl  I'm  going  to  marry." 

Norma  experienced  a  pleasant  thrill  at  that 
statement,  even  if  she  vetoed  it  as  soon  as  she 
heard  it.  There  was  a  horrible  fascination 
about  Bill  even  after  you  had  found  him  out. 

"Just  where,"  she  asked  after  an  appreciable 
pause,  "did  you  get  the  idea  that  I  would  ever 
be  your  wife?" 

"I've  thought  and  thought,"  he  replied 
soberly,  "and  I've  tried  to  discover  some  other 
way  to  go  through  life.  But  there  isn't  any. 
If  I  didn't  tell  you  so  I'd  be  even  a  worse 
coward  than  you  think  I  am." 

"Where,"  Norma  asked  irrelevantly,  "is 
Ranger  tonight?"  Her  mind,  back  tracking, 
had  noticed  something  unusual. 

"I  left  him  chained  up  at  home,"  Bill  con- 
fessed. "I  didn't  have  any  success  explaining 
the  plot  to  him  and  I  was  afraid  he  might  bite 
me  or  one  of  the  heavies  if  I  let  him  use  his  own 
judgment." 

Norma  had  to  laugh. 

Bill  sensed  the  breaking  of  the  tension  in  the 
wall  against  him.  He  was  quick  to  press  his 
advantage.  "I  can't  get  along  without  you, 
can  I?" 

"Bill,  I  don't  know.  My  better  judgment 
contradicts  every  heartbeat  I've  had  since  I've 
known  you.  Just  why  do  you  think  you  can't 
get  along  without  me?" 

"I  was  hoping  you'd  ask  me  that.  It's 
because  you  are  almost  exactly  what  every 
other  woman  in  the  world  tries  to  be." 

What  could  you  do  with  a  man  who  thought 
up  things  like  that?  A  woman  is  only  a 
woman  after  all. 

"You'll  take  me  back,"  he  pleaded,  " — as 
is?" 

"Yes,  Bill,  I'll  take  you  back, — as  is.  I 
imagine  that's  the  way  every  man  and  woman 
has  to  accept  his  life  partner.  But  remember 
this:  there's  only  one  thing  I  love  you  for." 

"That's  enough.     What  is  it?" 

"It's  because  I  can't  help  it." 

"That  was  what  I  hoped." 

It  was  a  relief  to  be  back  in  Bill's  arms, — 
even  with  reservations.  That  must  have  been 
where  she  had  been  wanting  to  be  all  the  time. 

He  was  so  tender,  so  gentle,  so  whimsical 
and  boyish, — so  everything  except  brave. 

VII 

STRANGELY  enough  the  spectre  of  Bill's 
one  defect  did  not  again  show  itself  until 
the  honeymoon  had  been  six  months  buried 
under  the  commonplace  content  of  married 
habitude.  Norma  had  not  forgotten,  but  the 
mental  reservation  with  which  she  had  accepted 
her  husband  had  been  anaesthetized  into  a  very 
small  voice  indeed  by  the  perfection  of  his 
expressed  adoration. 

Few  women  had  ever  been  loved  as  Norma 
was  loved  by  her  own  husband  and  she  knew 
it.  The  knowledge  made  her  glow  with  a 
curious  inexplicable  warmth  that  she  hugged 
to  her  breast,  wishing  that  it  might  leave  a 
scar  to  serve  for  remembrance  if  the  flame 
should  ever  grow  less. 

But  tenderness  and  devotion  are  not  what 
break  down  the  last  barrier  of  a  woman's 
individuality,  knock  her  reserve  into  the  middle 
of  next  week  and  make  her  inextricably  the 
other  half  of  her  man.  The  raw  tang  of  the 
cave  is  upon  her,  unknown  even  to  herself, 
and  she  who  is  wooed  is  not  necessarily  won 


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Photoplay  Magazine — Advertising  Section 


until  she  is  reduced  to  a  state  of  admiring 
insensibility  by  the  scandalously  rough  be- 
havior of  her  gentleman  friend. 

In  every  partnership  there  is  always  one 
who  is  more  certain  of  the  course  which  should 
be  pursued,  who  is  more  sure  of  himself.  To 
him  or  her  the  steering  wheel  naturally 
gravitates. 

As  time  wore  on  Norma  found  the  machinery 
of  their  life  under  her  control.  Bill  gave  her 
her  own  way  sometimes  even  when  she  only 
set  up  a  little  opposition  just  to  make  things 
more  interesting.  It  was  her  friends  who 
were  invited  to  their  house,  her  plan  for  vaca- 
tions that  was  carried  out,  her  decisions  with 
regard  to  the  investment  of  what  they  could 
save  out  of  Bill's  earnings. 

That  was  all  very  well  and  if  Bill  was  doing 
it  simply  out  of  knightly  deference  to  her 
womanhood  it  was  a  very  admirable  trait  of 
character.  But  Norma  suspected,  and  with 
reason,  that  her  big,  good-looking  hulk  of  a 
husband  was  afraid  to  oppose  her,  that  he 
gave  in  so  easily  because  he  dreaded  her  dis- 
pleasure, winced  at  the  crack  of  the  whip. 
She  would  rather  he  turned  her  over  his  knee 
and  spanked  her  when  she  did  not  do  as  he 
told  her. 

Norma  brooded  over  it;  her  love  loosened 
its  grip  a  little.  That  was  not  a  good  thing 
with  their  baby  coming  so  soon.  Perhaps  it 
was  her  condition  which  made  her  so  moody, 
made  her  fear  that  her  child  would  be  a  coward 
and  a  weakling.  She  fought  against  the  idea, 
told  herself  that  she  must  hold  quite  the  con- 
trary idea,  but  it  was  no  use. 

The  mental  depression  acted  upon  her 
physically  and  Norma,  the  epitome  of  healthy 
womanhood,  began  to  sag.  The  doctor  said 
she  was  anaemic  and  prescribed  many  eggs 
in  lemon  juice  but  the  condition  persisted. 

SHE  went  to  the  hospital  finally  in  a  run 
down  condition  that  the  physician  could  not 
explain  and  which  he  frankly  feared. 

The  boy  was  all  right.  He  seemed  to  be  a 
fine  healthy  specimen.  But  Norma  very  near- 
ly parted  with  her  own  life  during  the  very 
dreadful  days  that  followed. 

"We've  got  to  save  her,  Dr.  Reynolds," 
Bill  told  the  man  of  medicine  as  they  stood 
together  in  the  hospital  corridor  outside  of 
Norma's  room.  "Say  you  can.  I  wouldn't 
want  to  live  if  she  should  die." 

His  voice  had  unintentionally  risen  with 
increase  of  emotion  and  Dr.  Reynolds  laid 
a  cautioning  hand  on  his  arm. 

But  Norma,  inside,  had  heard  anyway. 
She  had  heard  and  remembered  that  other 
time  when  she  had  listened  to  "Steelheart's" 
vocal  chords  getting  out  of  control. 

It  made  her  deathly  sick. 

"Doctor,"  she  called. 

Bill  and  Dr.  Reynolds  went  in. 

"Send  him  away,"  Norma  indicated  her 
husband  weakly.     "Send  him  away." 

Bill  went,  whipped  into  a  cringing  fear  by 
the  look  of  scorn  she  had  flashed  at  him.  He 
even  knew  why.  Almost  feminine  intuition 
was  one  of  the  concomitants  of  his  over- 
sensitiveness. 

For  a  while  Norma  was  too  weak  to  talk 
and  the  doctor  busied  himself  with  restora- 
tives. 

Finally  she  asked  him  to  bend  close  to  her 
so  she  could  tell  him. 

And  she  did, — the  whole  miserable  obsession 
that  was  crushing  out  her  desire  to  live. 

Dr.  Reynolds  was  a  very  wise  man.  He 
had  lived  forty-five  years  and  for  twenty  of 
them  he  had  been  peering  into  the  bodies  and 
souls  of  men  and  women.  He  knew  much 
more  about  religion  than  ministers  who  preach 
it,  more  about  courage  than  soldiers  on  the 
battlefield  and  more  about  love  than  those 
who  merely  worship  at  the  shrine. 

And  besides  that  he  was  a  sport.  So  he 
finally  made  Norma  a  sporting  proposition. 

She  was  doubtful. 

"It's  your  only  chance.  You  can't  lose 
anything,"  he  told  her  bluntly.  "You're 
going  to  die  anyway  unless  you  do  as  I  suggest 


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Photoplay  Magazine — Advertising  Section 

and  you  can't  any  more  than  lose  your  life  in 
the  trial." 

Norma  fearfully  assented.  Her  fear  was 
not  for  herself.     She  didn*t  care. 

She  was  afraid  Bill  wouldn't  come  through 


VIII 

•"pHE  nurse  sterilized  their  two  arms.. 
•■■"I'm  going  to  have  to  take  a  great  deal 
of  your  blood  in  this  transfusion,  Mr.  Gaites," 
the  white-robed  surgeon  said  dispassionately. 
"But  I  shall  be  as  careful  as  possible  and  I 
have  to  warn  you  that  if  you  should  feel  faint 
and  even  if  your  heart  slows  up  a  bit  you 
mustn't  let  go  of  yourself,  must  not  tear  away. 
It  would  be  fatal  to  your  wife.  If  you  think 
you  can't  stand  it  we  might  be  able  to  get 
someone  else  even  yet  who — " 

"No,"  Bill  declined  stoically,  "go  ahead." 

The  rest  was  ghastly  silence.  Scissors  and 
lances  rattled  a  little  when  the  nurse  dipped 
them  in  the  bowl  of  antiseptic  solution  but 
that  was  all. 

"I'll  ask  you  to  turn  your  heads  away  while 
I  make  the  incisions,"  was  the  only  thing  the 
doctor  said. 

Bill  turned  his  head  as  directed  but  Norma 
only  looked  the  harder  at  him.  Her  eyes 
burned  with  the  intensity  of  her  gaze.  Not 
once  did  she  glance  at  her  own  white  wasted 
arm  that  lay,  supported  on  the  pillow  beside  her. 

You  could  almost  hear  the  lance  ripping  the 
flesh. 

Bill  unclenched  his  teeth  long  enough  to 
moisten  his  lips  but  that  was  all.  Not  a 
muscle  in  his  big  body  twitched. 

Time  ticked  mercilessly  on,  accompanied 
by  two  pounding  hearts.  Bill  grew  pale  but 
he  did  not  move. 

Finally  the  surgeon  nodded.  The  nurse 
began  to  remove  the  apparatus. 

With  his  arm  bandaged  tightly  Bill  was  led 
from  the  room. 

"Will  she  live,  doctor?"  he  pleaded  huskily. 

"She  will;  I'll  bet  my  own  life  on  it." 

"Thank  God!" 

Bill  slumped  to  the  floor, — completely  out. 

IX 

XTORMA  never  told  him  that  the  surgeon 
*"^l  had  only  scratched  his  arm  just  enough  to 
hurt  a  little  and  that  she  had  regained  her 
strength  not  because  of  his  heart's  blood  but 
because  she  had  found  out  something  about 
courage. 

Namely  and  to  wit: 

There  are  many  kinds. 

And  you  have  to  love  your  own  man  for  the 
particular  kind  he  has.  Especially  when  he 
is  willing  to  walk  right  up  to  the  gates  of  hell 
and  spit  in  the  eye  of  the  devil's  three-headed 
pup  in  order  to  yank  his  woman  back  from  the 
edge  of  the  pit. 

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Photoplay  Magazine — Advertising  Section 


1 1  I 


How  They  Do  Grow  Up! 

[  CONTINUED  FROM  PAGE  40  ] 

portrayal  of  women.  For,  after  all,  to  the 
large  majority  of  people  the  actions  and  re- 
actions of  a  woman  must  be  of  more  import- 
ance, must  present  a  broader  range  and  more 
lasting  effect  than  those  of  a  child. 

I  remember  so  well  the  first  time  I  ever  saw 
Mary  Pickford.  A  slim,  shy,  badly-dressed 
little  girl,  with  a  round  black  hat  over  her 
curls.  The  face  of  a  Botticelli  angel — and  all 
the  marks  of  poverty  and  hard  work  and  lack 
of  training  still  upon  her.  Unknown,  struggling 
to  help  support  her  mother  and  her  little 
brother  and  sister.  Immature — oh,  so  utterly 
immature. 

And  today,  not  only  the  best-known  woman 
on  earth,  but  one  of  the  most  cultured,  intel- 
ligent, poised  and  adorable  women  in  personal 
contact  it  has  ever  been  my  good  fortune  to 
meet. 

PERHAPS  no  woman  but  the  Empress 
Josephine  ever  trod  so  golden  a  path  from 
obscurity  to  glory — and  Napoleon  did  it  all 
for  her.     While  Mary  has  done  it  for  herself. 

Then  take  Charlie  Chaplin. 

A  few  years  ago  a  slim,  diffident  young  man, 
reserved  but  obviously  uncomfortable,  walked 
into  a  well  known  hat  store  in  Los  Angeles  and 
bought  a  silk  hat.  It  was  his  first  silk  hat  and 
he  paid  for  it  with  the  first  check  he  had  ever 
written.  It  is  unfortunate  that  that  check 
hasn't  been  preserved  for  historical  data.  It 
was  a  classic. 

Today  Charlie  Chaplin  can  write  his  per- 
sonal check  in  six  or  seven  figures. 

If  you  will  think  back  to  the  beginning  of 
things,  pictorially,  it  will  seem  to  you  that 
Charlie  Chaplin  was  just  about  like  any  other 
slap-stick  comedian.  A  little  funnier,  of 
course.  He  disdained  not  the  custard  pie. 
He  was  chased  by  everything  that  can  chase. 
He  fell  in  and  out  of  lakes,  coal  holes  and  dish- 
pans  without  fear  or  favor. 

Only  the  most  expert  eye  could  have  dis- 
cerned the  thing  that  made  him  different  from 
the  awful  one-reel  comedians  we  see  today. 

Do  you  remember  when  he  first  began  to 
act?  In  his  burlesque  of  "Carmen"?  Do 
you  remember  when  he  first  introduced  the 
touches  of  pathos  that  have  made  him  great — 
in  "The  Tramp"?  And  the  steady  progress 
and  development  up  to  "Shoulder  Arms"  and 
"The  Kid,"  and  gradually  down  again  to 
comparative  mediocrity  —  for  Chaplin  —  in 
"The  Idle  Class"  and  "The  Pilgrim"? 

Ah,  the  great  change  in  Charlie — the  change 
for  which  the  whole  world  must  suffer — is  in 
his  present  detestation  of  motion  picture  act- 
ing. In  the  old  days,  he  was  animated  by  an 
intense  ambition  to  succeed,  to  be  somebody. 
He  looked  up  to  his  memory  of  the  idols  of 
the  London  stage  and  the  journey  seemed 
endless. 

Having  made  that  journey — and  beyond, 
way  beyond — he  is  now  animated  chiefly  by 
a  desire  to  be  liked  and  to  be  judged  on  his  own 
merits — not  because  he  is  Charlie  Chaplin  and 
not  because  he  is  a  rich  man. 

But  Charlie,  like  Mary  Pickford,  is  going 
through  a  stage  of  growth.  You  can  see  it 
for  yourself,  if  you  watch.  He  has  mentally 
outgrown  the  things  he  is  doing.  The  slap- 
stick comedian  of  the  Sennett  lot,  who  knew 
none  of  the  finer  things  and  possessed  none  of 
the  graces  of  manner,  has  become  an  actor 
and  a  gentleman.  His  r61es  no  longer  fit  him. 
Since  he  has  nothing  to  strive  for,  they  pall 
upon  him.  They  are  too  tight.  He  has  taken 
to  directing  and  rumor  says  he  may  never  act 
again.  But  the  world  wants  Charlie  Chaplin 
■ — the  actor. 

Maybe,  some  day,  we  shall  see  him  in  the 
sort  of  things  that  made  David  Warfield  great 
on  the  stage.  Why  not  Charles  Chaplin  in  a 
screen  version  of  "The  Music  Master"  some 
day? 

Personally,  he  has  become — from  a  rather 
eauche,  but  intensely  interesting  little  Cockney 


The  initials  of  a  friend 

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electricity  works.  They  are  on  great  generators 
used  by  electric  light  and  power  companies ;  and 
on  lamps  that  light  millions  of  homes. 

They  are  on  big  motors  that  pull  railway  trains ; 
and  on  tiny  motors  that  make  hard  housework 
easy. 

By  such  tools  electricity  dispels  the  dark  and  lifts 
heavy  burdens  from  human  shoulders.  Hence  the 
letters  G-E  are  more  than  a  trademark.  They  are 
an  emblem  of  service— the  initials  of  a  friend. 

GENERAL  ELECTRIC 


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12 


Photoplay  Magazine — Advertising  Section 


And  you  so  much  as  look  at  her,  I'll  run  you  through!" 


A 


DRAMA  of  hearts  and  swords  in  the  glamorous  days 
of  Old  France  when  the  beauties  of  the  most  brilliant 
court  of  all  Europe  played  at  love  and  intrigue  and  bold 
chevaliers  fought  and  bled  and  braved  death  to  win  a 
throne  or  a  kiss  and  milady's  smile. 

The  screen's  most  popular  dramatic  actress  in  the  biggest 
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at  your  theatre.  It  is  the  sign  of  the  ultimate  in  artistic 
and  entertaining  pictures. 

Joseph  M.  SchencK  presents 

NORMA  TALMADGE 


in 


"Ashes  of  Vengeance 


// 


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— a  suave,  polished,  temperamental  man  of 
considerable  charm.  He  has  deliberately  de- 
veloped an  ego — a  self-confidence  that  is  as 
different  from  his  old  manner  as  a  Rolls- 
Royce  is  different  from  a  Ford. 

You  have  only  to  think  of  his  triumphal 
tour  through  England  to  gage  it  all. 

And  remember,  too,  that  England  is  not 
America. 

Back  to  the  gutters  where  he  knew  hunger 
and  cold  and  unfulfilled  dreams.  To  be  met 
there  as  only  the  best  beloved  of  princes  have 
ever  been  met.  To  be  feted  and  courted  and 
received  by  the  great  of  his  own  land. 

As  for  Douglas!  He  still  jumps,  'tis  true. 
But  how  differently! 

Just  yesterday  I  saw  him  driving  up 
Cahuenga  Avenue.  His  hair  is  growing  long 
for  a  part,  almost  down  to  his  shoulders.  A 
red  ribbon  was  tied  through  the  black  locks 
to  keep  them  in  place.  He  wore  a  white 
negligee  shirt  open  at  the  front,  knickers, 
tennis  shoes.  His  face  is  tanned  almost  to 
the  shade  of  mahogany. 

Somewhat  different  he  looked  from  the  pol- 
ished, young  New  York  actor  who  arrived  in 
Hollywood  a  few  years  ago.  A  typical  Broad- 
way actor,  the  last  word  in  sartorial  expensive 
grooming,  with  his  smart  hair-cut  and  his 
"give  me  everything  you've  got  in  the  barber 
shop"  look. 

And  what  has  happened  to  the  original 
screen  Douglas?  The  typical  young  Amer- 
ican! The  dashing,  full  of  pep,  smiling  hero 
of  a  hundred  red-blooded  American  melo- 
dramas! 

Try  to  find  even  a  trace  of  him  in  the  French 
hero  of  "The  Three  Musketeers,"  the  English 
idol  of  "Robin  Hood,"  the  Spanish  grandee- 
bandit  of  "The  Mark  of  Zorro."  Aside  from 
the  jumping,  you  won't  find  it. 

And  Douglas  Fairbanks  used  to  be  rather 
an  ordinary,  commonplace  young  man,  so 
far  as  one  could  see  from  casual  acquaintance. 
Now — oh,  dear  me!  He  is  perpetual  motion. 
He  is  eccentric  in  dress  and  act  and  thought. 
He  has  become  a  young  king  in  his  studio 
domain. 

He  has  served  his  apprenticeship  as  a  money- 
slave  for  the  producers,  says  he,  and  he  in- 
tends to  go  right  on  developing  as  seems  best 
to  him. 

Charles  Ray  is  just  on  the  threshold  of  a 
similar  leap. 

After  tottering  on  the  brink  of  a  fall  from 
favor — the  result  of  a  number  of  bad  pictures — 
Ray  has  come  back  with  a  bang  in  "The  Girl 
I  Loved  "  and  he  has  an  even  greater  success,  I 
believe,  in  "The  Courtship  of  Miles  Standish." 
The  chief  thing  about  Charlie  Ray  is  his 
broadening  as  an  actor. 

IT  seems  to  Hollywood  that  Ray's  great 
come-back  on  the  screen  is  based  upon  his 
personal  come-back  to  his  old,  charming  nor- 
mal self. 

A  few  years  ago  Charlie  Ray  was  a  delight- 
ful, naive,  rather  serious  youngster,  with  a 
natural  sweetness  and  an  eager  craving  for  fine 
things. 

And  then — and  then — well,  it  seemed  to 
Hollywood  that  Mr.  Ray  had  been  swamped 
by  the  butler,  and  the  gorgeous  new  home  in 
Beverly  Hills,  and  the  social  success — and  all. 
It  seemed,  even  on  the  screen,  to  be  marring 
the  warm,  real  human  charm  of  his  work. 
He  grew  a  bit  stodgy  mentally,  a  trifle  heavy 
and  slow-moving  physically. 

Then,  suddenly— no  one  knew  just  how  or 
why,  the  old  Charlie  Ray  came  back.  Softened 
and  broadened  and  ready  for  the  great  big 
things  he  has  always  been  capable  of.  He 
grew  again  mentally  alert  and  responsive, 
active  and  natural. 

Right  here  I  want  to  mention  Constance 
Talmadge. 

Remember  the  mountain  girl  of  "Intoler- 
ance"? The  madcap?  The  tom-boy?  That 
was  Constance  Talmadge  of  the  early  days. 
Thin,  undeveloped,  with  a  certain  vivid  per- 
sonality, a  lot  of  pep  and  a  great  deal  of 
physical  beauty.    Her  acting  consisted  entirely 


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in  being  herself.  It  never  varied,  except  in 
costume,  and  it  was  funny  or  charming  or 
appealing  in  exactly  the  degree  than  Connie 
herself  was  at  that  moment. 

Now  wait  until  you  see  her  in  "Dulcy." 
There  is  a  real  performance.  A  part  utterly 
foreign  to  Constance  herself,  yet  she  is  the 
dumbbell-/<n<.v-^as-ing  heroine  of  the  play 
just  as  much  as  Lynn  Fontanne  was  in  the 
theater.  She  preserves  the  old  Constance 
Talmadge  charm,  but,  somehow,  she  has 
developed  from  the  rude  little  girl  of  the  old 
days  into  a  polished,  finished,  young  lady  who 
is  a  delightful  light  comedienne  and  an  actress 
who  plays  .with  an  assured  and  appealing 
stroke. 

Norma,  too,  has  become  a  woman. 

She  has  developed  more,  acquired  greater 
power,  than  I  expected.  But  she  has  changed 
her  personality  more  completely  than  any  of 
them. 

I  find  less  of  the  old  Norma  Talmadge. 

Today  Norma  stands,  I  believe,  as  the  screen's 
greatest  dramatic  actress.  She  is,  in  my 
opinion,  the  best  actress  on  the  silversheet. 
She  has  learned  in  these  years  to  act — to  act 
with  all  the  full-blown  power,  the  intensity  of 
dramatic  feeling,  the  forgetfulness  of  self  that 
mark  the  stage  work  of  Margaret  Anglin  and 
Mrs.  Fiske,  of  Jeanne  Eagels  and  Pauline 
Lord. 

She  couldn't  act  like  that  ten  years  ago, 
could  she? 

BUT  the  polished,  emotional,  worldly  woman 
of  today,  with  her  gorgeous  gowns  and  her 
sophistication  and  her  knowledge  of  life 
written  in  every  line  of  her  face — the  Norma 
of  today,  is  different  in  every  way  from  the 
girl  Norma  we  used  to  see. 

It's  a  bit  difficult  to  remember  the  Gloria 
Swanson  of  the  old  Triangle  days.  Little 
Gloria,  a  bit  awkward  about  her  feet,  all  wrong 
about  her  clothes,  expressionless — but  oh,  how- 
beautiful. 

I  always  think  of  Gloria  Swanson  as  the  ugly 
duckling  who  became  a  swan.  For,  in  the  old 
days,  you  wouldn't  have  seen  the  great  possi- 
bilities in  her  that  Cecil  De  Mille  saw,  I'm  sure. 
She  didn't  know  how  to  walk,  how  to  sit  down, 
what  to  do  with  her  hands. 

She  seemed  much  older  then  than  she  does 
now. 

In  a  few  years,  she  became  the  screen's 
greatest  -clothes  model.  Exotic,  glittering, 
exquisite.  But  always — for  a  long  time — she 
suggested  somehow  a  naughty  lady — or  rather, 
she  never  at  any  time  suggested  a  lady  at  all. 
She  was  the  glorified  chorus  girl,  the  Parisian 
coquette  of  the  Longchamps  race  track,  the 
ultra-vamp. 

Just  lately,  again,  there  has  been  another 
change  in  Gloria.  She  is  beginning  to  be  the 
real  grande  dame.  She  looks  and  acts  like  a 
particularly  lovely  young  princess.  Her  grace 
and  her  manner  are  perfect,  and  the  allure 
has  gone  up  about  fifty  degrees  in  the  social 
scale. 

The  new  Gloria — or  rather  the  newest 
Gloria — arrived  at  just  about  the  crucial 
moment,  just  when  the  public  was  beginning  to 
tire  a  bit  of  the  "exaggerations  and  unrealities 
of  the  other  Gloria. 

It  has  established  Gloria  definitely  as  one 
of  the  really  big  and  unshakable  stars  of  the 
industry. 

Harold  Lloyd!  Personally,  Harold  hasn't 
changed  a  bit.  I  don't  think  he  ever  will — 
except,  maybe,  to  grow  nicer  and  more  kind 
and  more  worth  while  every  day  he  lives. 
He's  just  the  same  sweet,  unassuming  natural 
boy  he  always  was,  eager  to  learn,  full  of  fun 
and  sunshine. 

But  as  a  comedian — as  a  screen  personality 
— drop  in  and  see  one  of  his  old  two-reelers 
some  night  and  then  go  to  see  the  finished 
Willie  Collier  performance  in  "Safety  Last," 
that's  all. 

Oh  yes,  they're  growing  up.  Changing. 

Wonder  what  we  can  write  about  them  ten 
years  from  today. 


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It  is  a  striking  fact  that  the  women 
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The  Tragic  Romance  of 
Luigi  Montegna 

[  CONTINUED  FROM  PAGE  43  ] 

"Wha-thell  you  want?"  retorted  Bull,  with 
his  usual  suavity.  "I  think,  maybe  he  want 
to  touch  me  for  five  dollars,"  explained  Bull. 
"But  anyhow  I  go  around  to  see  Doog.  John 
Emerson  was  with  him.  Doog  say  to  John, 
'What  you  think  of  this  guy  to  play  burglar  in 
the  picture? '  John  say, '  For  Gossakes,  he  look 
like  he  was  a  burglar.'" 

Such  was  Bool's  introduction  to.  the  films. 

As  he  remarks  now,  he  didn't  know  what  it 
was  all  about.  After  the  first  day's  work  he 
spent  most  of  the  night  trying  to  get  his  make- 
up off.  "I  wash  and  wash  with  soap  and 
water  but  no  come  off." 

The  next  morning  when  he  walked  down 
Tent'  avenue  his  gentlemen  friends  guyed  him. 

"Look  at  Bool,"  they  jeered.  "For  Gos- 
sakes, he  paint  his  face  like  a  sweet  mama." 

Bull  got  sore  and  decided  to  quit  the  films. 

"I  have  to  wrestle  over  in  Jersey  the  next 
night,"  he  explained,  "And  how  I  wrestle  with 
pink  stuff  on  my  face?" 

When  he  presented  himself  at  the  studio  to 
quit,  Doug  said:  "For  Gossakes,  Bull,  why  you 
not  take  off  your  make-up?  "  Bull  said,  "For 
Gossakes,  Doog,  I  wash  all  night  and  it  no 
come  off.  I  quit."  But  Doug  saved  the 
screen  from  the  loss  by  removing  Bull's  make- 
up himself  with  cold  cream. 

Bull  has  saved  his  money  during  his  six 
years  in  pictures  and  he  now  has  a  neat  fortune 
in  Hollywood  property. 

Recently  he  visited  his  old  home  town  in 
Italy.  He  was  hailed  as  a  hero  by  the  good 
citizens,  who  vied  with  one  another  in  opening 
rare  old  bottles  in  his  honor.  He  bought  his 
parents  a  house  and  a  vineyard,  donated  lire 
to  the  orphanage,  to  the  old  people's  home 
and  to  the  church.  The  citizens,  at  an  en- 
thusiastic banquet,  considered  erecting  a 
statue  of  him  in  the  piazza. 

THE  first  night  at  home  he  donned  silk 
pajamas.  His  father  had  never  seen  such  a 
garment  before  and  wanted  to  know  if  Bull 
was  going  to  a  masquerade  party. 

In  Hollywood,  Bull  leads  a  simple  bachelor 
life  in  a  chaste  little  bungalow,  adorned  within 
by  pictures  of  himself  and  others  of  his  admirers, 
including  Dooglas  and  Jack  Dempsey.  Jack's 
picture  bears  the  fond  autograph,  "To  my 
darling  'Papa'  Bull." 

Bull  entertains  a  profound  regard  and  affec- 
tionfor  Jack.  "He  knocked  me  cold  once,"  he 
says  simply. 

Bull's  diversions  are  motoring,  wrestling  and 
playing  his  victrola.  He  has  genuine  interest 
in  his  work  and  he  reads  all  the  reviews. 

"The  sport  editors  say  '  Bull  Montana,  the 
movie  actor,'  and  the  movie  editors  say,  'Bull 
Montana,  the  wrestler.'     Wha-thell." 

Being  both  a  wrestler  and  an  actor,  he  has 
to  take  double  care  of  himself.  His  diet  is 
particularly  rigorous.  For  breakfast  he  has 
nothing  but  a  loaf  of  bread,  built  in  the  duplex 
style  and  reinforced  with  slabs  of  salami. 
Then  a  light  lunch  of  soup,  potatoes,  vege- 
tables, one  beefsteak  and  pie.  For  dinner  he 
allows  himself  a  little  more — maybe  two 
beefsteaks. 

On  a  recent  visit  to  New  York  the  old  love 
wound  was  reopened  .  .  .  He  met  Lil  out- 
side the  Columbia  burlesque  show.  She  in- 
vited him  to  call  on  her,  but  he  was  busy  with 
dinners,  teas  and  theater  parties. 

"Ha!"  cried  Lil.  "Teas  and  theatrical 
parties!  When  I  met  you,  you  were  a  big  wop 
with  a  bandana  around  your  neck!" 

To  this  unkind  cut,  Bull  simply  replied, 
"For  Gossakes!"  and  fled  as  he  had  before. 

But  the  memory  of  that  first  great  love  ever 
haunts  him.  That  is  the  secret  that  lies  be- 
hind the  eyes  of  Bull  Montana,  giving  to  his 
face  that  expression  of  wistful  tenderness  such 
as  one  seldom  sees  except  in  the  paintings  of 
the  apostles. 


Double  wst  aid- 


Two  things  happen  at  once 
when  Absorbtne,  Jr.  is  applied  to 
a  cut,  scratch,  bruise,  burn  or 
other  injury  to  the  skin. 

The  wound  is  thoroughly 
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what  the  antiseptic  does! 

Pain  is  promptly  allayed;  in- 
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This  double  first  aid  is  in- 
valuable in  emergencies  —  quick, 
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Absorbinejr.  possesses  a  pungent, 
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use.  A  few  drops  suffice. 

At  most  druggists',  $1.2  J,  or  postpaid. 
Liberal  trial  bottle,  toe,  postpaid. 

W.F.YOUNG,  Inc. 
218  Lyman  St.,  Springfield,  Mass. 


Absorbine.J 

THE  ANTISEPTIC    LINIMENT 


DOWN 


GENUINE 
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Alice'Sit'by'the'Fire 

[  CONTINUED  FROM  PAGE  56  ] 

That  is  a  sturdy,  florid-faced,  gray-haired  man 
whose  idol  she  is.  Her  father,  W.  A.—"  Bill " 
— Brady.  A  theatrical  manager  for  years,  a 
manager  of  fighters  before  that,  the  wall 
against  which  thousands  of  hard  knocks  have 
lost  their  force.  Alice  Brady  is  still  his 
"baby,"  a  topic  of  which  he  speaks  in  hushed, 
almost  reverent  tones. 

Alice's  mother  was  Marie  Renee,  a  dark- 
eyed  dancer  from  France.  She  died  when 
Alice  was  three  years  old,  and  the  quiet  child, 
with  her  mother's  eyes,  was  placed  in  charge 
of  the  gentle  sisters  at  the  Sacred  Heart  Con- 
vent at  Fort  Lee,  New  Jersey.  It  was  a  serene, 
peaceful,  sleepy  life  that  the  child  led  at  the 
old  convent.  By  all  laws  of  environment,  she 
should  have  grown  into  a  quiet,  placid  young 
woman.  But  her  father  was  a  theatrical 
manager,  her  mother  a  dancer.  Heredity 
won. 

Silent  she  was — always.  Silent  she  is  to- 
day.    Taciturn,  perhaps,  is  the  better  word. 

"I  used  to  take  refuge  in  silence  when  a 
child,"  she  said.  "I  simply  couldn't  express 
my  feelings.  Often  I  have  wanted  to  tell  my 
father  I  was  sorry  for  something,  but  the  words 
wouldn't  come.  It  is  hard  for  me  to  open  my 
heart,  to  tell  what  I  feel.  I'm  like  my  father 
in  that." 

BUT  the  stage  was  in  her  blood.  At  seven- 
teen, while  a  student  at  the  New  England 
Conservatory  of  Music  in  Boston,  she  wrote 
her  father  that  she  intended  to  join  the  chorus 
of  the  Castle  Square  Opera  Company  unless 
he  would  let  her  start  her  stage  career  under 
his  management.  Father  Brady  groaned,  but 
he  knew  his  daughter.  So  he  placed  her  in  a 
Shubert  musical  company,  "The  Balkan 
Princess,"  with  one  line  to  speak.  Her  stage 
name  was  Marie  Rose,  but  a  critic  who  knew 
her  discovered  her  in  the  company  and  then 
her  own  name  was  placed  on  the  programme. 

She  had  a  charming  voice — not  large,  but 
true  and  sweet.  But  she  strained  it,  singing 
in  Gilbert  and  Sullivan  operas  with  DeWolf 
Hopper.     She  couldn't  sing  any  more. 

"I  didn't  worry  much.  I  just  stopped," 
she  said,  with  a  little  tightening  of  the  lips. 
"What  else  was  there  to  do?  I  know  when 
anything  is  hopeless,  and  I  just  give  it  up." 

Then  came  her  stage  career,  which  was  bril- 
liant, and  her  screen  career,  which  is  no  less  so- 
Then  she  married.  Her  husband  was  Donald 
Crane,  an  actor,  and  son  of  the  Rev.  Frank 
Crane.     Separation  followed. 

"I  shall  not  marry  again,"  she  said,  her  eyes 
growing  darker,  as  is  her  habit  when  under 
stress  of  emotion.  "My  marriage  was  not  a 
success.  After  illusions  are  gone  and  faith 
destroyed,  one  does  not  care  to  take  another 
risk." 

Now  her  great  interest  is  in  her  son,  Donald, 
now  18  months  old.  She  guards  her  own 
health  for  his  sake.  She  swims  to  keep  herself 
fit.  But  she  has  no  enthusiasm  for  the  sport. 
Nor  for  any  athletics.  Nor,  for  life,  really. 
But  she  has  for  Donald. 

"I  believe  a  child  should  be  brought  up  at 
home,"  she  says.  "Donald  will  be.  It  is  not 
well  for  a  growing  child  to  be  away  from  home, 
even  at  the  best  school.  It  represses  him, 
makes  him  inexpressive,  machine-like,  in- 
stitutional." 

That  was  a  long  speech  and  long  words  for 
Alice  Brady,  devotee  of  the  monosyllable  in 
speech. 

So  there  she  is,  at  her  beautiful  home,  she 
and  Donald.  The  humming  bird  has  become 
a  house  wren.  And  yet  she  has  all  her  old 
charm,  her  old  talent.  And  she  has  her 
beauty,  softened  a  little,  not  quite  so  vivid, 
but  perhaps  even  more  effective  because  of 
that. 

But  the  spark,  the  incentive,  seems  to 
have  vanished. 

It's  a  great  pity. 


IJ5 


jithing  betrays  a  woman's  age  so  surely  as  her  hands.  Old 
hands — worn,  neglected  looking  hands — can  utterly  contra' 
diet  the  youth  and  charm  of  her  face.  Don't  let  your  hands 
give  people  the  impression  that  you  are  older  than  you  look! 
You  can  have  lovely  hands — soft,  white,  youthful  looking — 
if  you  give  them  tAe  same  exquisite  care  you  give  your  face. 

If  you  want  your  hands  to  be 
beautiful— use  them! 


It  is  not  use  that  makes  an  ugly  hand 
— it  is  neglect.  Use  gives  them  character, 
individuality,  sensitiveness,until  they  are 
as  full  of  meaning  as  a  human  face. 

Don't  be  afraid  to  use  your  hands  in 
any  work  that  is  interesting  to  you.  But 
care  for  them  as  your  most  faithful 
servants.  Keep  them  in  perfect  condition 
— keep  them  smooth  and  supple,  as  an 
artist  or  a  surgeon  keeps  his  hands.  If 
you  give  them  the  right  care,  work  will 
never  disfigure  them. 

Today  thousands  of  women  have 
found  a  way  to  keep  their  hands  smooth 
and  white  as  they  go  about  their  house- 
hold tasks,  without  any  fear  that  house- 
work will  age  them  and  give  them  a 
rough  neglected  look.  They  use  Jergens 
Lotion  every  time  they  have  had  their  hands 
in  water.    By  following  this  simple  rule, 


they  have  found  that  you  can  give  your 
hands  hard  use,  and  yet  keep  them 
delicate  and  smooth  and  youthful — 
lovely  to  touch  or  look  at. 

Jergens  Lotion  is  a  medicinally  correct 
preparation  that  does  remarkable  things 
in  the  way  of  healing  any  roughness  or 
irritation  of  the  skin. 

Women  have  long  used  Jergens 
Lotion  for  their  face,  to  prevent  chap- 
ping or  sunburn  and  to  heal  any  rough- 
ness or  irritation.  Begin  today  to  give 
your  hands  the  same  care  that  you  give 
your  face— see  how  wonderfully  it  works! 

You  can  get  a  bottle  of  Jergens  Lotion  for  50 
cents  at  any  drug-store  or  toilet  goods  counter. 
Or  send  6  cents,  with  your  name  and  address  for 
tKe  beautiful  little  trial  bottle  shown  below.  Address 
The  AndrewJergensCo.,231Spring Grove  Ave., 
Cincinnati,  Ohio.  If  you  live  in  Canada,  address 
The  Andrew  Jergens  Co.,  Limited,  231  Sher- 
brooke  St.,  Perth,  Ontario. 


These  hands,  so  firm  and  flexible  in 
all  their  lines,  are  far  more  beautiful 
than  any  "do-nothing"  hands  could 
ever  be.  Any  housekeeper  can  have 
beautiful  hands  if  she  cares  for  them 
in  the  way  indicated  above. 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE . 


n6 


Photoplay  Magazine — Advertising  Section 


Curwood's  Neiv  Book!  \ 


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Casts  of  Current  Photoplays 

Complete  for  every  picture  reviewed  in  this  issue 


"LITTLE  OLD  NEW  YORK"— Cosmo- 
politan.— From  the  stage  play  of  the  same 
name  by  Rida  Johnson  Young.  Adapted  by 
Luther  Reed.  Director,  Sidney  Olcott.  Photog- 
raphy by  Ira  H.  Morgan.  The  cast:  Patricia 
O'Day,  Marion  Davies;  Patrick  O'Day,  Steve 
Carr;  John  O'Day  {Her  Father),  J.  M.  Kerri- 
gan; Larry  Dclcvan,  Harrison  Ford;  Robert 
Fulton,  Courtenay  Foote;  Washington  Irving, 
Mahlon  Hamilton;  Fitz-Grecne  Ilallcck,  Norval 
Keedwell;  Henry  Brevoort,  George  Barraud; 
Cornelius  Vandcrbilt,  Sam  Hardy;  John  Jacob 
Astor.  Andrew  Dillon;  Mr.  De  Puyslcr,  Riley 
Hatch;  Rally  (Larry's  Servant),  Charles  Ken- 
nedy; Bunny  (The  Night  Watchman),  Spencer 
Charters;  Bully  Boy  Brewster,  Harry  Watson; 
The  Hoboken  Terror,  Louis  Wolheim;  Delmon- 
ico,  Charles  Judels;  Ariana  De  Puyster,  Gypsy 
O'Brien;  Belly  Schuyler,  Mary  Kennedy; 
Rachel  Brewster,  Elizabeth  Murray;  Chancellor 
Livingston,  Thomas  Findlay;  Mrs.  Schuyler, 
Marie  R.  Burke. 

"BLUEBEARD'S  EIGHTH  WIFE"— 
Paramount— From  the  play  by  Alfred  Savoir. 
Play  adaptation  by  Charlton  Andrews.  Sce- 
nario by  Sada  Cowan.  Director.  Sam  Woods. 
Photography  by  Alfred  Gilks.  The  cast: 
Mono,  de  Briac,  Gloria  Swanson;  John  Brandon, 
Huntley  Gordon;  Robert,  Charles  Greene; 
Lucicnne,  Lianne  Salvor;  Marquis  de  Briac, 
Paul  Weigel;  Lord  Henry  Seville,  Frank  R. 
Butler;  Albert  de  Marceau,  Robert  Agnew; 
Alice  George,  Irene  Dalton. 

"ASHES  OF  VENGEANCE"— First  Na- 
tional— From  the  novel  of  the  same  name  by 
H.  B.  Somerville.  Adapted  by  Frank  Lloyd. 
Director,  Frank  Lloyd.  Photography  by 
Antonio  Gaudio.  The  cast:  Yoeland  de  Breux 
Norma  Talmadge;  Rupert  de  Vrieac,  Co  way 
Tearle;  Due  de  Tours,  Wallace  Beery;  Catherine 
de  Medici,  Josephine  Crowell;  Mar  got  de 
Vaincoirc,  Betty  Francisco;  Margot's  Aunt, 
Claire  McDowell;  Comic  de  la  Roche,  Courtenay 
Foote;  Father  Paul,  Forrest  Robinson;  Paid, 
James  Colley;  Charles  IX,  Andre  De  Beranger; 
Due  de  Guise,  Boyd  Irwin;  Bishop,  Winter 
Hall;  Andre,  William  Clifford;  Carlotte, 
Murdock  McQuarrie;  Gallon,  Hector  V.  Sarno; 
Blais,  Earl  Schenck;  Charlotte,  Lucy  Beau- 
mont; Anne,  Yoeland's  invalid  sister,  Jeanne 
Carpenter;  Denise,  Mary  McAllister;  Viscomte 
de  Briege,  Howard  Truesdell ;  Philippe,  Kenneth 
Gibson;  Marie,  Carmen  Phillips;  Soldier  Boy, 
Rush  Hughes;  Lupi,  Frank  Leigh. 

"HOLLYWOOD"  —  Paramount  —  From 
the  Photoplay  Magazine  story  of  the  same 
name  by  Frank  Condon.  Adapted  by  Tom 
Geraghty.  Director,  James  Cruze.  Photog- 
raphy by  Karl  Brown.  The  cast:  Angela 
Whilakcr,  who  seeks  a  movie  career,  Hope 
Drown;  Joel  Whilakcr,  her  grandfather,!,  uke 
Cosgrave;  Lem  Lefferts,  a  pants  prcsser,  G.  K. 
Arthur;  Grandmother  Whilakcr,  old  but  am- 
bitious, Ruby  Lafeyette;  Dr.  Luke  Morrison, 
Harris  Gordon;  Hortense  Towers,  Bess  Flowers; 
Margaret  Whilakcr,  a  cyclonic  woman,  Eleanor 
Lawson;  Horace  Pringle,  a  scenarist,  King 
Zany;  and  Cecil  B.  DeMille,  William  S.  Hart, 
Walter  Hiers,  May  McAvoy,  Owen  Moore, 
Baby  Peggy,  Viola  Dana,  Anna  Q.  Nilsson, 
Bull  Montana,  Laurance  Wheat,  Pola  Negri, 
Jack  Holt,  Jacqueline  Logan,  Nita  Naldi, 
Mary  Astor,  William  de  Mille,  Jack  Pickford, 
Lloyd  Hamilton,  Will  Rogers,  T.  Roy  Barnes, 
Thomas  Meighan,  Betty  Compson,  Leatrice 
Joy,  Theodore  Kosloff,  George  Fawcett, 
Bryant  Washburn,  Hope  Hampton,  Eileen 
Percy,  Stuart  Holmes,  Ricardo  Cortez,  Agnes 
Ayres,  Lila  Lee,  Lois  Wilson,  Noah  Beery, 
Alfred  E.  Green,  Anita  Stewart,  Ben  Turpin, 
J.  Warren  Kerrigan,  Ford  Sterling,  Sigrid 
Holmquist  and  many  other  famous  personages. 

Every  advertisement  In  PHOTOPLAY  MAGAZINE  is  guaranteed. 


"TRILBY"— First  National— From  the 
novel  of  the  same  name  by  George  du  Maurier. 
Scenario  by  Richard  Walton  Tully.  Director, 
James  Young.  Photography  by  George 
Benoit.  The  cast:  Trilby,  Andree  Lafayette; 
Little  Billee,  Creighton  Hale;  Svengali,  Arthur 
Edmund  Care  we;  Taffy,  Philo  McCullogh;  The 
Laird,  Wilfred  Lucas;  Gecko,  Francis 
McDonald;  Zouzou,  Maurice  Cannon;  Dodor, 
Max  Constant;  Duricn,  Gordon  Mullen;  Miss 
Bagot,  Gertrude  Olmstead;  Mme.  Vinard, 
Martha  Franklin;M«.  Bagot,  Evelyn  Sherman; 
Rev.  Bagot,  Gilbert  Clayton;  Laundress,  Rose 
Dione;  Impresario,  Edward  Kimball;  J  cannot 
Robert  De  Vilbiss. 

"LITTLE  JOHNNY  JONES  "—Warner 
Brothers. — A  film  version  of  the  play  by 
George  M.  Cohan.  The  cast:  Johnny  Jones, 
Johnny  Hines;  The  Earl  of  Bloomsburg,  Wynd- 
ham  Standing;  Mrs.  Jones,  Margaret  Seddon; 
Sir  James  Smylhe,  Robert  Prior;  Edith  Smythe, 
Molly  Malone;  Robert  Anstead,  George  Webb; 
Joe  Nelson,  Mervyn  LeRoy;  Chauffeur,  "pat" 
Carr;  Lady  Jane  Smythe,  Pauline  French. 

"ALIAS  THE  NIGHT  WIND"— Fox.— 

Story  by  Varick  Vanardy.  Scenario  by  Robert 
M.  Lee.  Director,  Joseph  Franz.  Photography 
by  Ernest  Miller.  The  cast:  Bing  Howard, 
William  Russell;  Kathcrine  Maxwell,  Maude 
Wayne;  Amos  Chester,  Charles  K.  French; 
Thomas  Clancy,  Wade  Boteler;  Stuart  Clancy, 
Jack  Miller;  Clifford  Rushton,  Donald  McDon- 
ald; Assistant  Detectives  (Edwin  Detective 
Agency)  Otto  Matieson,  Bob  Klein,  Bert 
Lindley;  E.  J.  Brown,  H.  Milton  Ross;  Police 
Inspector,  Charles  Wellesly;  Nurse,  Mark 
Fenton. 

'"  "FIGHTING  BLOOD"  (Second  Series)—; 
F.  B.  O. — Story  by  H.  C.  Witwer.  Scenario  by 
Beatrice  Van.  Director,  Henry  Lehrman. 
The  cast:  Gale  Galen,  George  O'Hara;  Rose- 
mary DuBarry,  Mary  Beth  Milford;  Nate, 
Albert  Cooke;  Kelly,  Kit  Guard;  Patricia 
Paddington,  Louise  Lorraine. 


"THE  ELEVENTH  HOUR"  — Fox.  - 
Story  and  Scenario  by  Louis  Sherwin.  Direc- 
tor, Bernard  J.  Durning.  Photography  by 
Don  Short.  The  cast:  Barbara  Hacketi 
Shirley  Mason;  Brick  McDonald,  CharL 
Jones;  Herbert  Glenville,  Richard  Tucker 
Prince  Stefan  de  Bcrnie,  Alan  Hale;  Dick  Man- 
ley,  Walter  McGrail;  Estcllc  Hackelt,  June 
Elvidge;  Submarine  Commander,  Fred  Kelsey; 
Mordecai  Newman,  Nigel  de  Brullier. 

"LOYAL  LIVES"— Vitagraph.— Story  by 
Charles  G.  Rich  and  Dorothy  Farnum.  Direc- 
tor, Charles  Giblyn.  Photography  by  Edward 
F.  Paul.  The  cast:  Dan  O'Brien,  Brandon 
Tynan;  Mary  O'Brien,  Mary  Carr;  Peggy, 
Faire  Binney;  Terrence,  William  Collier,  Jr.; 
Michael  O'Hara,  Charles  MacDonald;  Lizzie 
O'Hara,  Blanche  Craig;  Tom  O'Hara,  Chester 
Morris;  Brady,  Tom  Blake;  Mrs.-  Brady, 
Blanche  Davenport. 

"THE  PURPLE  HIGHWAY"  —  Para- 
mount— Authors,  Luther  Reed  and  Hale 
Hamilton.  Scenario  by  Rufus  Steele.  Direc- 
tor, Henry  Kolker.  Photography  by  George 
Webber  and  Henry  Cronjager.  The  cast 
April  Blair,  a  slavey  and  later  a  theatrical  star, 
Madge  Kennedy;  Edgar  Prentice,  known  as 
Edgar  Craig,  a  playwright,  Monte  Blue; 
Dudley  Quail,  a  rich  man  about  town,  Vincent 
Coleman;  Joe  Renard,  a  composer,  Pedro  de 
Cordoba;  Manny  Bean,  a  producer,  Dore 
Davidson;  Mrs.  Carney,  manager  of  the  Home 
of  failures,  Emily  Fitzroy;  Mr.  Quail,  a  cap- 
italist, Dudley's  father,  William  H.  Tooker; 
Mrs.  Quail,  his  wife,  Winifred  Harris;  Shake- 
speare Jones,  John  W.  Jenkins;  Mr.  Ogilvic, 
Charles  Kent. 


I 


Photoplay  Magazine — Advertising  Section 

"RADIO-MANIA"— W.  W.  Hodkinson  — 
Adapted  for  the  screen  by  Lewis  Allen  Browne. 
Director,  R.  William  Neil.  Photography  by 
George  Folsey.  The  cast:  Arthur  Wyman, 
Grant  Mitchell;  Mary  Langdon,  Margaret 
Irving;  Mrs.  Langdon,  Gertrude  Hillman.  Mr. 
Sterling,  W.  H.  Burton. 

"  LAWFUL  LARCENY "  —  Paramount  — 
From  the  play  of  the  same  name  by  Samuel 
Shipman.  Scenario  by  John  Lynch.  Director, 
Allan  Dwan.  Photography  by  Hal  Rosson. 
The  cast:  Marion  Dorscy,  a  faithful  wife,  Hope 
Hampton;  Andrew  Dorsey,  her  husband, 
Conrad  Nagel;  Vivian  Hepburn,  a  modern 
Cleopatra,  Nita  Naldi;  Guy  Tarlow,  her  sweet- 
heart, Lew  Cody;  Sonny  Dorsey,  Marion's  boy, 
Russell  Griffin;  Billie  Van  de  Vere,  Yvonne 
Hughes;  Nora,  a  maid,  Dolores  Costello; 
Dancers  at  the  Rcndez-Vous,  Gilda  Gray, 
Florence  O'Denishawn,  Alice  Maison. 


117 


The  Rouge 
that  Stays  On 
until  you  remove  it 

NOW  there  is  a  rouge  that  does 
not  rub  off.  After  years  of 
experiment,  of  rejection  of  cne  tint 
after  another,  this  new  cream  rouge 
— PERT — has  been  so  perfected 
that  it  is  absolutely  water  and  per- 
spiration proof. 

No  longer  need  you  hesitate  to  leave 
your  doorstep  without  the  inevitable 
rouge  in  your  bag.  One  application 
of  Pert  lasts  all  day  or  evening 
through.  Even  constant  powdering 
will  not  affect  Pert,  but  it  vanishes 
instantly  at  a  touch  of  cold  cream 
or  soap  and  water. 

Orange-colored  in  the  jar,  Pert 
changes  to  a  becoming  pink  the 
instant  that  it  touches  the  skin.  Its 
easy  blending  and  lovely  natural- 
ness are  due  to  this  change  in  color. 
Pert  is  as  becoming  in  daylight  as 
under  artificial  light.  It  contains 
no  oil. 

At  drug  or  department  stores  or  by 
mail,  75c. 

Send  a  dime  today  for  a  gener- 
ous sample  of  Per  t  rouge,  enough 
to  keep  your  cheeks  rosy-pink 
for  days. 

ROSS  COMPANY 

73  Grand  Street  New  York 


Pert 


the  Rouge 
that  Stays  on 


"THE  BRASS  BOTTLE"  —  First  Na- 
tional— By  F.  Anstey.  Director,  Maurice 
Tourneur.  Scenario  by  Fred  Myton.  Photog- 
raphy by  Arthur  Todd.  The  cast:  Horace 
Venlimore,  Harry  Myers;  Fakresh-el-Aamash, 
Ernest  Torrence;  Professor  Hamilton,  Tully 
Marshall;  Mrs.  Hamilton,  Clarissa  Selwyn; 
Rapkin,  Ford  Sterling;  Mrs.  Rapkin,  Aggie 
Herring;  Marjorie  Hamilton,  Charlotte  Mer-  I 
nam;  Samuel  Wackerbalh,  Ed  Jobson;  The  | 
Queen,  Barbara  La  Marr. 

"A  GENTLEMAN  OF  LEISURE"— Para- 
mount— Based  on  the  play  of  the  same  name 
by  P.  G.  Wodehouse  and  John  Stapleton. 
Adapted  by  Jack  Cunningham.  Director, 
Joseph  Henabery.  Photography  by  Faxon  M. 
Dean.  The  cast:  Robert  Pitt,  Jack  Holt;  Sir 
Spencer  Deever,  Casson  Ferguson;  Molly 
Creedon,  Sigrid  Holmquist;  Sir  John  Blount, 
Alec  Francis;  Lady  Blount,  Adele  Farrington; 
Spike  Mullen,  Frank  Nelson;  Big  Phil  Creedon, 
Alfred  Allen;  Maid,  Nadeen  Paul;  Chorus  Girl, 
Alice  Queensberry. 

"HOMEWARD  BOUND"— Paramount— 
Story  by  Peter  B.  Kyne.  Scenario  by  Jack 
Cunningham  and  Paul  Sloane.  Director, 
Ralph  Ince.  Photography  by  Ernest  Haller. 
The  cast:  Jim  Bedford,  Thomas  Meighan; 
Mary  Brent,  Lila  Lee;  Rufni  Brent.  Charles 
Abbe;  Rodney,  Wil'iam  T.  Carleton;  Murphy, 
Hugh  Cameron;  Captain  Svcnson,  Gus  Wein- 
berg; Mrs.  Brannigan,  Maud  Turner  Gordon; 
Rufus  (Bill)  Brent,  Jr.,  Cyril  Ring;  Clarissa 
Wynwood,  Katherine  Spencer. 

"SOFT  BOILED"  —  Fox  —  Story  and 
scenario  by  J.  G.  Blystone.  Director,  J.  G. 
Blystone.  The  cast:  Tom  Steele,  Tom  Mix; 
The  Ranch  Owner,  Joseph  Gerard;  The  Girl, 
Billie  Dove;  The  Road  House  Mgr.,  L.  C. 
Shumway;  Colored  butler,  Tom  Wilson;  John 
Steele,  Frank  Beal;  Ranch  foreman,  Jack 
Curtis;  Lawyer,  C.  H.  Mailes;  Storekeeper, 
Harry  Dunkinson;  The  Reformer,  Wilson 
Hummell. 

"  HELL'S  HOLE  "—Fox— Story  by  George 
Scarborough.  Adapted  by  Bernard  McCon- 
ville.  Director,  Emmett  J.  Flynn.  The  cast: 
Tod  Musgrave,  Charles  Jones;  Dorothy  Owen, 
Ruth  Clifford;  Del  Hawkins,  Maurice  Flynn; 
Mabel  Grant,  Kathleen  Key;  Warden  Grant, 
Hardy  Kirkland;  Pablo,  EugenePallette. 

"LEGALLY  DEAD"— Universal— Story 
by  Charles  Furthman.  Scenario  by  Harvey 
Gates.  Director,  William  Parke.  Photography 
by  Richard  Fryer.  The  cast:  Will  Campbell, 
Milton  Sills;  Mrs.  Campbell,  Margaret  Camp- 
bell; Minnie  O'Reilly,  Claire  Adams;  Jake 
Dorr,  Edwin  Sturgis;  Jake's  Sweetie,  Faye 
O'Neill;  Malcolm  Steel.  Charles  A.  Stevenson; 
District  Attorney,  Joseph  Girard;  The  Anarchist, 
Albert  Prisco;  The  Judge,  Herbert  Fortier; 
The  Governor,  Charles  <  Wcllsly;  Detective 
Powell,  Robert  Homans;  The  Adrenalin  Doctor, 
Brandon  Hurst. 

J  continued  on  page  119] 

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rVHIS  is  YOUR  Department.  Jump  right  in  with  your  con- 
**•  tribution.  What  hare  you  seen,  in  the  past  month,  that 
was  stupid,  unlife  like,  ridiculous  or  merely  incongruous?  Do 
not  generalize;  confine  your  remarks  to  specific  instances  of  ab- 
surdities in  pictures  you  have  seen.  Your  observation  will  be 
listed  among  the  indictments  of  carelessness  on  the  part  of  the 
actor,  author  or  director. 


SATCHELS— OR  RABBITS 

IN  "Hearts  Aflame,"  John  Taylor  gets  out  of 
the  Ford  when  he  goes  into  Foraker's  Folly, 
and  with  him  brings  two  satchels.  When  he 
entered  the  Ford,  about  to  go  to  Foraker's 
Folly,  he  had  four  satchels.  Later,  when  he 
brings  his  satchels  out  of  the  house,  he  has  four ! 
How  come? 

H.  H.  H.,  Montclair,  N.  J. 

KINGS  HA  VE  DONE  SUCH! 

THERE  is  one  mystery  in  the  picture, 
"Adam's  Rib,"  that  I  cannot  solve.  When 
the  mother  (Anna  Q.  Nilsson)  visits  the  King's 
apartment  (the  King  played  by  Theodore  Kos- 
loff)  she  is  seen  wearing  a  dark  dress  with  light 
embroidered  collars  and  cuffs.  When  she  re- 
turns to  her  home,  early  in  the  morning,  she 
is  seen  wearing  an  altogether  different  cos- 
tume. How  come?  Did  the  King  have  a 
ladies'  wardrobe  stationed  in  his  apartment? 
Clara  M.  Leady,  Alton,  111. 

BRAWN  DID  IT— OF  COURSE 

IN  "Brawn  Of  The  North,"  when  Brawn 
(Strongheart,  the  dog)  appears  after  he  has 
run  away,  Marian  sees  him  and  drops  her  baby 
on  the  sled  and  runs  after  Brawn.  Later,  when 
the  dog  runs  away  with  the  baby,  it  is  strapped 
securely  to  the  sled. 

Catherine  Burk,  Kirksville,  Mo. 

DAVID  IN  THE  LION'S  DEN 

IN  "Mighty  Lak'  A  Rose,"  we  see  Rose  read- 
ing the  Twenty-Third  Psalm  to  Jimmie. 
When  she  finishes  he  asks  her  to  read  about 
Daniel  in  the  lion's  den.  She  laughs  and  nods 
her  head  and  begins  to  read  on  the  same  page, 
while  Jimmie  settles  down  to  listen  with  an 
extremely  pleased  expression.  Surely  it  was 
a  queer  Bible  for  the  Psalms  to  be  on  the  same 
page  as  Daniel. 

J.  M.  S.,  Chicago,  HI. 

A  MAGIC  CUP 

IN  "Dr.  Jack,"  Harold  Lloyd  sat  down  at  the 
hotel  table  with  an  empty  coffee  cup  by  his 
side.    He  turned  around  and  the  cup  was  full 
without  being  filled  in  the  spectators'  sight. 
Margaret  Emily  Maxwell,  Cameron,  Mo. 

TWO  CORRECTIONS 

THIS  "Why-Do-They-Do-It?"  is  aimed  at 
some  movie  fans  and  not  at  the  producers. 
In  two  moving  pictures  I  have  seen  which  were 
criticized  by  people,  I  have  found  that  the  in- 
congruity lies  in  their  criticism. 

In  "The  Ghost  Breaker,"  when  someone 
entered  Lila  Lee's  room,  someone  asked  why 
she  didn't  show  surprise  or  even  scream.  Pos- 
sibly, in  older  days,  the  heroine  might  have 
screamed,  but  now,  in  this  present  day,  hero- 
ines have  become  more  sensible.  Miss  Lee  did 
look  a  trifle  worried  and  that  is  probably  what 
most  people  would  have  done. 

In  the  July  Photoplay,  a  certain  C.  T.  A.  of 
Newark  criticized  an  incident  in  "The  Ninety 
And  Nine,"  where  Siherton,  after  being 
"bricked,"  left  his  cap  beside  the  brook,  but 
later  it  was  found  in  Colleen  Moore's  living 
room.  In  the  version  I  saw  the  heroine  (rather 
un-noticeably)  pick  up  his  cap  and  carry  it 
with  her. 

These  two  incidents  show  that  one  can  never 
be  too  sure  in  tearing  down  someone's  brain 
child. 

L.  M.,  Lavern,  Minn. 


WE'D  LIKE  TO  KNOW 
TN  Bull  Montana's  "Snowed  Under,"  the  col- 
-1-ored  valet  finds  a  bottle  of  gin  in  the  snow. 
The  bottle,  when  found,  is  about  one-fourth 
full  of  liquid,  but  when  he  enters  the  room  and 
gets  ready  to  hide  it,  the  bottle  is  full.  Tell 
me,  how  did  he  do  it? 

Mrs.  R.  D.  Richards,  Fresno,  CaHf. 

"THROWING  THE  BULL" 
T  RECENTLY  saw  Harry  Carey  in  his  great 
*  picture,  "Crashin'  Through,"  and  one  scene 
impressed  me  as  being  a  rather  vivid  example 
of  "nature  faking."  The  scene  opens  with 
Harry  and  his  partner  at  a  branding  fire,  and 
Harry  is  directed  to  rope  a  maverick  "bull," 
which  he  proceeds  to  do.  He  is  in  some  mys- 
terious way  entangled  in  the  rope  and  is  being- 
dragged  by  the  "bull."  His  partner  seeing  his 
plight  goes  to  his  rescue  and  "bull-dogs"  the 
"bull,"  he  in  turn  being  in  danger  of  his  life. 
Harry  releases  himself  from  the  rope,  goes  to 
his  partner's  rescue,  when  it  develops  that  the 
maverick  "bull"  is  a  very  docile  "muley  cow." 
I  certainly  thought  that  Carey  had  been  a 
range  hand  long  enough  to  know  the  difference. 
E.  A.  Thompson,  Omaha,  Neb. 

STANDARD  NASSAU  TIME 
TN  "You  Can't  Fool  Your  Wife,"  co-starring 
-*-Lewis  Stone  and  Nita  Naldi,  they  (Lewis 
Stone  and  Nita  Naldi)  have  made  a  trip  to 
Nassau  by  seaplane,  and  the  aviator,  upon 
landing,  tells  them  to  be  back  by  one  o'clock. 
However,  they  become  interested  in  other 
things  than  the  time,  and  in  a  cabaret  where 
they  are  dining,  a  sub-title  reads:  "Five  min- 
utes past  one."  But  upon  looking  at  the  clock 
on  the  wall,  the  fan  reads  it  as  ten  minutes  to 
eight! 

Mr.  "X,"  Chicago,  111. 

MAYBE  HE  HAD  TWO 

IN  the  picture,  "Within  the  Law,"  Norma 
Talmadge  as  Mary  Turner,  is  seen  jumping 
into  the  river,  attempting  suicide.  Joe  Gar- 
son  comes  to  the  rescue.  He  throws  off  his 
overcoat — dives  in,  and  saves  her.  The  next 
scene  shows  him  leaving  the  elevator  of  a  hotel 
escorting  Mary  to  a  girl  friend's  room — he  has 
no  overcoat — and,  after  seeing  that  Mary  will 
be  cared  for,  he  picks  up  his  overcoat  and 
leaves. 

W.  A.  Peschelt,  Santa  Monica,  Calif. 

A  CHILLY  PERSON— THE  WIFE 

IN  "The  Rustle  of  Silk,"  when  Lola  goes  to 
Fallary  in  his  hunting  lodge,  after  he  has  ac- 
cidentally shot  himself,  she  is  wearing  her 
maid's  dress,  with  a  fur  neckpiece.  Next  morn- 
ing she  comes  into  the  room  with  a  bunch  of 
daisies.  Soon  after,  his  wife  comes  into  the 
room  wearing  a  fur  coat.  How  changeable  the 
weather  must  be  in  England. 

Elsa  Tresselt,  Passaic,  N.  J. 

THE  CHANGING  CODE 

IN  "Grandma's  Boy,"  Harold  Lloyd  as  grand- 
pa picks  up  General  Bell's  code  at  random, 
and,  wadding  the  unfolded  code  up,  he  stufis 
it  in  the  top  of  his  apron  where  it  is  seen 
throughout  the  fight.  When  his  general  arrives 
he  drops  the  apron  to  the  floor,  the  code  falling 
with  it.  Then,  after  taking  off  the  coat  of  the 
enemy,  he  takes  the  neatly  folded  code  out  of 
his  own  pocket. 

E.  M.  M.,  Story  City,  Iowa. 


Every  advertisement  In  PnOTOPLAY  MAGAZINE  is  guaranteed. 


mib 


Photoplay  Magazine — Advertising  Section 


Casts  of  Current 
Photoplays 

,  [  CONTINUED  FROM  PAGE  117  ] 

"ST.  ELMO"— Fox— From  the  novel  by 
Augustus  Evans.  Scenario  by  Jules  Furth- 
man.  Director,  Jerome  Storm.  The  cast: 
St.  Elmo  Thornton,  John  Gilbert;  Agnes  Hunt, 
Barbara  La  Marr;  Edna  Earle,  Bessie  Love; 
Murray  Hammond,  Warner  Baxter;  Alan 
Hammond,  Nigel  De  Brullier;  Mrs.  Thornton, 
Lydia  Knott. 

"SHADOWS  OF  THE  NORTH"— Uni- 
versal— Directed  by  Robert  Hill.  Story  by 
Edison  Marshall.  Scenario  by  Paul  Schofield. 
Photography  by  Harry  Fowler.  The  cast: 
Ben  "  Wolf"  Darby,  William  Desmond;  Beatrice 
Neilson,  Virginia  Browne  Faire;  Ray  Brent, 
Fred  Kohler;  Jeffrey  Neilson,  William  Welsh; 
Hemingway,  Albert  Hart;  Ezra  "Pancake" 
Darby,  James  O.  Barrows;  King,  the  dog, 
Rin-Tin-Tin 

"SKID  PROOF"  — Fox— Story  by  Byron 
Morgan.  Director,  Scott  Dunlap.  Scenario 
by  Harvey  Gates.  Photography  by  Don  Short. 
The  cast:  Jack  Darwin,  Charles  Jones; 
Nadine,  Laura  Anson;  Dutton  Hardmere,  Fred 
Eric;  Lorraine  Hardmere,  Jacquiline  Gadsdon; 
Marie  Hardmere,  Peggy  Shaw;  Rufus  Tyler, 
Earl  Metcalf;  Masters,  Claude  Peyton;  Danc- 
ing Joe,  Harry  Tracey. 

"DON'T  MARRY  FOR  MONEY"— Ar- 
row.— Story  by  Hope  Loring  and  Louis 
Duryea  Lighton.  Director,  Clarence  L. 
Brown.  The  cast:  Peter  Smith,  House  Peters; 
Marion  Whitney,  Rubye  De  Remer;  Edith 
Martin,  Aileen  Pringle;  Crane  Martin,  Cyril 
Chadwick;  Rose  Graham,  Christine  Mayo;  The 
Inspector,  Wedgewood  Nowell;  Amos  Webb, 
George  Nichols;  An  "Explorer,"  Hank  Mann; 
Alec  Connor,  Charles  Wellesly. 

"THE  STEEL  TRAIL"—  Universal  — 
Story  and  scenario  by  Paul  M.  Bryan  and 
George  Plympton.  Director,  William  Duncan. 
Photography  by  George  Robinson.  The  cast: 
Bruce  Boyd,  William  Duncan;  Judith  Arm- 
strong, Edith  Johnson;  Frank  Norton,  Ralph 
McCullough;  Mark  Zabel,  Harry  Carter; 
Morris  Blake,  Harry  Woods;  Col.  John  Arm- 
strong, John  Cossar;  Calvin  Bitner,  Frank 
Whitson;  Anna,  Mabel  Randall;  Olga,  Cath- 
leen  Calhoun. 

"OUT  OF  LUCK"— Universal— Story  by 
Edward  Sedgwick.  Scenario  by  George  C. 
Hull.  Director,  Edward  Sedgwick.  Photog- 
raphy by  Virgil  Miller.  The  cast:  Sam 
Pertune,  Hoot  Gibson;  Mae  Day,  Laura  La 
Plante;  Ezra  Day,  Howard  Truesdell;  Aunt 
Edith  Bristol,  Elinor  Hancock;  Captain  Bristol, 
DeWitt  Jennings;  Cyril  La  Mount,  Freeman 
Wood;  Boggs,  Jay  Morley;  "Kid"  Hogan, 
Kansas  Moehring;  "Pig"  Hurley,  John  Judd. 

"THE  VICTOR"— Universal— Story  by 
Gerald  Beaumont.  Scenario  by  E.  Richard 
Schayer.  Director,  Edward  Laemmle.  Photog- 
raphy by  Clyde  De  Vinna.  The  cast:  Hon. 
Cecil  Fitzhugh  Waring,  Herbert  Rawlinson; 
Teddy  Walters,  Dorothy  Manners;  Lord  War- 
ing, Frank  Currier;  /.  P.  Jones,  Otis  Harlan; 
Chiquita  Jones,  Esther  Rawlston;  Porky 
Schaup,  Eddie  Cribbon;  Jacky  Williams,  Tom 
McGuire. 

"THE  LOVE  BRAND"— Universal— 
Story  by  Raymond  L.  Schrock.  Scenario  by 
Adrian  Johnson.  Director,  Stuart  Paton. 
Photography  by  William  Thornley.  The  cast: 
Don  Jose  O'Neil,  Roy  Stewart;  Peter  Collier, 
Wilfred  North;  Frances  Collier,  Margaret 
Landis;  Charles  Mortimer,  Arthur  Hull; 
Miguel  Salvador,  Sydney  De  Grey;  Teresa, 
Marie  Wells. 


119 


f  continued  on  page  134  ] 


Whiten  Hands  Overnight 


Astounding  Scientific  Discovery— Dr.  Egan's 

Magic    Night    Gloves!    Make    rough, 

reddened,  work-worn   hands  soft 

and  white  over-night! 

Results  Absolutely  Guaranteed  in  Writing.    Legal 
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JUST  think  of  it— putting  on  a  pair  of  cloves  for  a 
night  and  finding  your  hands  exquisitely  white 
and  soft!  That  is  the  magic  of  Dr.  Egan's 
amazing  medicated  Gloves!  Nothing  like  them 
ever  known  1  These  gloves  of  medicated  fabric  (not 
rubber)  actually  turn  your 
hands  white,  as  white  as 
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soft. 

No  matter  how  red  your 
hands,  or  how  sallow  or 
yellow  or  how  deeply 
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workworn  your  hands,  the 
magic  of  these  medicated 
gloves  will  turn  them 
white  and  soft,  fresh  and 
young-looking. 

Results  in  One 
Night 

Just  one  night's  wear  of 
these  marvelous  gloves  is 
enough  to  convince  you. 
You  see  a  difference  in 
your  hands  almost  un- 
believable. Wear  the 
gloves  four  or  five  nights 
and  you  have  a  new  pair 
of  hands.  It's  the  medi- 
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work.  The  gloves  are  im- 
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the  famous  Dr.  S.  J.Egan. 
The  medicated  fabric 
when    activated    by    the 

natural  warmth  of  the  hands  has  a  peculiarly  potent 
whitening  and  softeing  effect  upon  the  hands.  The 
hands  become  white— a  charming,  natural  white. 
They  become  soft  and  smooth  as  velvet.  And  all  so 
quick  as  to  be  dumfounding. 

The  complete  Dr.  Egan  Magic  Glove  outfit  con- 
sists of:  one  pair  freshly  medicated  gloves;  one  jar 
Dr.  Egan's  Pore-Lax;  one  bottle  Glove  Medicator; 
one  copy  Dr.  Egan's  booklet,  "The  Care  of  the 
Hands";  all  in  neat  container.  The  Pore-Lax  is  a 
special  cream  to  apply  before  donning  the  gloves  to 
open  the  pores  of  the  skin  for  the  action  of  the  medi- 
cated gloves.  The  Glove  Medicator  is  for  restoring 
the  potency  of  the  gloves  after  a  period  of  wear. 
Gloves  may  be  worn  at  night  while  you  sleep  or 
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If  five  nights  of  wear  of  the  gloves  doesn't  make 
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possible,  don't  keep  the  gloves.  Return  them  to  us 
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1 


Dr.  S.  J.  Egan,  Dept.  59 
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Name., 


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120 


Photoplay  Magazine — Advertising  Section 


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The  Romantic  History  of 
the  Motion  Picture 

[  CONTINUED  FROM  PAGE  6l  ] 

go  that  way.  Now  was  the  time  to  make  film 
while  the  sun  was  shining — in  California. 

Biograph's  most  pretentious  effort  of  that  first 
season  in  California  was  "Ramona,  "  in  which 
allof  thecompany  appeared,  with  Henry  Walth- 
all in  the  role  of  Allcsandro. 

Biograph  was  proud  of  this  subject,  released 
May  26,  1910,  and  issued  an  impressive  little 
brochure  on  it.  But  in  this  booklet  was  no 
mention  of  the  players  or  Griffith,  the  director. 
There  was  some  murmuring  among  players  in 
all  of  the  picture  studios  about  credit  for  their 
labors.  Slight  and  casual  concessions  were 
made  by  some  few  of  the  studios,  but  Biograph 
stood  out  firmly  against  identifying  its  screen 
characters  to  the  public.  Inquiries  from  pic- 
ture patrons,  addressed  to  the  company,  were 
answered  with  crisp,  printed  form  cards,  an- 
nouncing that  Biograph  never,  in  any  circum- 
stances, gave  out  the  name  of  a  player. 

Griffith,  who  was  developing  in  authority 
with  the  increasing  commercial  successes  of  his 
product,  might  perhaps  have  exerted  an  in- 
fluence in  behalf  of  the  players,  but  any  appeal 
to  him  was  in  vain.  In  the  opinion  of  his  co- 
workers, Griffith  was  "all  for  the  company." 

Tracing  back  into  the  files  of  motion  picture 
trade  journals  for  a  beginning  of  the  star  idea, 
one  finds,  in  the  Moving  Picture  World  of 
December  4,  1909,  an  advertisement  in  which 
Pathe  proudly  announced  a  French  production, 
entitled  "La  Grande  Breteche,"  neatly  translated 
"The  Great  Breach,"  but  which  would  have 
been  more  accurately  attuned  to  the  motion 
picture  market  if  heralded  as  "The  Grand 
Bust-Up."  In  this  advertisement  it  was  stated 
that  among  the  players  were  Phillipe  Gamier  of 
the  Comedie  Francaise,  Andre  Calamettes  of 
the  Gymanase,  and  Mile.  Sergine  of  VOdcon,  all 
of  which  meant  nothing  at  all  to  the  American 
buyers  of  motion  pictures. 

Europe's  efforts  to  make  the  screen  the  vehi- 
cle of  the  classics  were  largely  wasted  on  the 
American  market.  The  motion  picture  theater 
men  and  their  audiences  wanted  Indians  and 
action.  When  P.  P.  Craft  went  out  to  road- 
show a  foreign  production,  entitled  "Homer's 
Odyssey,"  a  considerable  percentage  of  his 
patrons  demanded  to  know  if  Mr.  Homer  was 
travelling  with  the  show  to  make  personal  ap- 
pearance. 

ACONSPICUOUS  effort  at  a  realization  of 
star  values  was  made  with  a  three-reel 
version  of  "Camille,"  with  Sarah  Bernhardt  in 
the  title  role.  The  picture  was  loudly  pro- 
claimed in  advertising  by  the  agents  of  the 
amateurish  French  concern  which  made  it,  but 
it  failed  utterly  of  theater  attention.  A  curious 
sensation  comes  to  the  searcher  into  dusty  files 
in  this  year  of  Bernhardt's  death  to  find  her 
quoted  in  those  decade-old  advertisements  with 
the  line:  "I  rely  upon  these  films  to  make  me 
immortal." 

Neither  the  great  names  of  the  stage  or  of 
literature  could  make  an  impression  on  the  mo- 
tion picture  mind  of  the  time.  The  exhibitors, 
with  their  little  nickelodeon  shows  and  their 
audiences  as  well,  were  not  of  those  who  pa- 
tronized the  art  of  the  stage  or  any  form 
of  literature,  except,  perhaps,  the  daily 
newspapers.  This  world  of  the  illiterati  had  to 
create  its  own  stars,  manufactured  of  its  own 
fame  with  no  share  in  and  no  relation  to  the 
renown  and  fame  of  careers  and  creations  in  the 
older  arts. 

"Little  Mary"  of  Biograph,  as  they  knew 
Mary  Pickford,  and  "Broncho  Billy"  of  Es- 
sanay,  were  better  known  to  this  world  of  the 
motion  picture  than  the  late  Mr.  Homer,  of 
ancient  Grece,  or  Sarah  Bernhardt,  of  modern 
France. 

It  was  a  full  two  years  later  when  the  Edi?on 
company  ventured  out  in  its  advertising  in  the 
trade  journals  with  the  names  of  actors,  an- 

Every  advertisement  in  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


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SECRETS  of  SLENDERNESS  to 

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Who  Reduced  3 4  lbs. 
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just  a  pleasant  tasting  harmless  tea 
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Madam  Blanche  Arral,  the  celebrated 
opera  singer,  before  learning  this  secret, 
was  forced  from  the  stage  by  fat.  In  just 
30  days  she  recovered  her  health  and  6gure 
by  drinking  this  native  tea  brewed  by  a 
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After  benefitting  many  stage  folks  and 
celebrated  people  all  over  the  world  she 
has  consented  to  prepare  this  tea  in  con- 
venient form  for  all  those  who  suffer  from 
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Read  the  wonderful  story 
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BLANCHE  ARRAL,  Inc. 
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Photoplay  Magazine — Advertising  Section 


121 


nouncing  James  Gordon,  Laura  Sawyer  and 
Herbert  Prior  in"  The  Christian  and  the  Moor," 
August  i,  191 1,  and  "The  Switchman's 
Tower,"  with  Mary  Fuller  and  Herbert  Prior, 
August  4.  But  the  names  were  in  tiny,  pale 
type. 

The  motion  picture  was  not  prepared  to  real- 
ize that  the  people  of  its  own  making,  by  force 
of  their  repeated  and  continual  screen  appear- 
ances, were  well  known  to  their  audiences  and 
better  known  to  those  audiences  than  the  long- 
starred  artists  of  the  stage. 

Kalem  at  this  time  did  not  advertise  players 
in  connection  with  productions,  but  offered  for 
sale  to  exhibitors  novelty  souvenirs,  bearing 
the  pictures  of  Gene  Gauntier  and  Alice  Joyce. 
David  Horsley,  with  his  Nestor  brand  of  inde- 
pendent pictures,  mentioned  the  names  of 
Violet  and  Clare  Mersereau  in  his  announce- 
ments. 

Carl  Laemmle's  "Imp"  brand  was  dallying 
with  the  star  idea  in  a  release  of  December  17, 
1910,  announcing  the  Count  de  Beaufort  as 
"the  first  real  blown-in-the-bottle  nobleman" 
to  appear  in  motion  pictures.  Newspaper 
readers  of  the  time  will  perchance  recall  the 
dashing  de  Beaufort — Jacques  Alexander  Von 
Mourik  de  Beaufort,  to  be  exact — as  the  young 
European  adventurer  who  splashed  into  Chi- 
cago and  married  the  daughter  of  a  millionaire 
iron  master,  being  neatly  bounced  on  the  side- 
walk by  said  millionaire's  ablest  butler  a  short 
time  thereafter.  After  that,  de  Beaufort,  re- 
joicing in  a  great  deal  of  page  one  attention  in 
the  daily  press,  went  from  his  shattered  honey- 
moon to  vaudeville,  to  motion  pictures,  and 
thence  to  newspaper  reporting — where  he  was 
known  as  "Mike" — as  the  glare  of  the  lime- 
light faded. 

THE  motion  picture  was  now  beginning  to  be 
somewhat  uncomfortable  with  uncertain  no- 
menclature. The  parlance  of  the  day  had  run 
through  a  series  of  experimental  terms  and 
words  of  horrific  design,  starting  with  Cinemat- 
ograph and  Kinetoscope  in  the  early  vaude- 
ville days  of  the  screen,  to  nickelodeon,  nickel- 
ette,  theatorium  and  nickelshow  in  the  early 
days  of  the  screen  theater.  All  these  names 
were  awkward  misfits.  All  England  and  Eu- 
rope had  rather  settled  to  cinema  in  some  form 
of  spelling,  except  Germany,  which,  with  char- 
acteristic Teutonic  explicitness,  arrived  at 
W  andelbilder — wandering  pictures — Lichtbild 
and  Lichtspiel — light  play.  There  was  no  ac- 
ceptable suggestion  for  America  there. 

The  Essanay  company  in  Chicago,  with  an 
eye  on  an  advertising  opportunity,  offered  a 
handsome  prize  of  twenty-five  dollars  for  a 
new  name  for  the  motion  picture. 

The  contest  concluded  with  the  announce- 
ment on  October  12,  1910,  that  Edgar  Strak- 
osch,  a  musician  and  exhibitor  in  Sacramento, 
California,  had  been  awarded  the  prize  for 
coining  the  name  "Photoplay."  A  year  later 
this  magazine  was  founded,  taking  for  its  name 
"Photoplay." 

This  did  not  settle  the  matter,  however.  The 
advertisements  of  the  time  are  filled  with  the 
verbal  blacksmithing  of  the  film  makers  in  an 
effort  to  arrive  at  a  significant  term.  Vita- 
graph  was  proud  for  a  long  time  of  its  phrase, 
"Vitagraph  Life  Portrayals,"  while  Baumann 
and  Kessel  toyed  indefinitely  with  the  phrase, 
"Life  Motion  Pictures." 

While  the  motion  picture  was  still  trying  to 
name  itself,  out  in  Chicago  a  legal  decision  of 
vast  but  long-forgotten  significance  came  to  add 
to  the  dignity  of  the  new  art.  On  March  0, 
1009,  Tony  Piazza  and  Tony  Graziona  entered 
the  theater  of  one  Susanna  Lange,  at  Went- 
worth  avenue  and  Sixty-ninth  street,  on  Chi- 
cago's West  Side,  and  were  promptly  thrown 
out.  Through  James  LaMantia,  they  brought 
suit  under  the  civil  rights  act,  and  the  defense 
was  set  up  against  them  that  they  were  heavily 
scented  with  garlic.  In  June,  Judge  Heap 
handed  down  his  momentous  decision,  saying: 
"The  odor  of  garlic  may,  at  times,  beanobsta- 
cle  permitting  the  refusal  of  a  person's  entrance 
at  a  public  entertainment,  and  I  find  for  the 


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DAVID  BELASCO— the  man  who  for  a  generation  has  capti- 
vated patrons  of  the  Spoken  Drama — has  yielded  to  the  insistent 
appeal  that  his  dramatic  genius  should  be  perpetuated  in  Motion 
Pictures  for  the  entertainment  and  inspiration  of  all  people  for 
all  time. 

And  BELASCO  has  chosen  to  express  his  matchless  art  exclu- 
sively through 

"Warner  Bros.  Classics  of  The  Screen" 

Now  you  will  see  pictures  so  beyond-the-ordinary  that  you  will 
forget  the  canvas  before  you  and  feel  the  heart-grip  of  the 
master  producer. 

DAVID  BELASCO'S  association  with  WARNER  BROS,  is 
the  long-sought  triumph  of  the  Silent  Drama — the  final  proof 
of  Warner  leadership. 

Watch  for  the  first  three  Belasco  productions — "Tiger  Rose" — 
"The  Qold  Diggers"— "Daddies". 

We  have  a  limited  number  of  autographed  photographs 
of  DAVID  BELASCO  which  we  will  send  without 
cost  on  request  of  readers  of  this  publication 


1600  Broadway 


New    York    City 


Classics  of  the  Screen 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


122 


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It  is  the  only  Home  Study  Course  which  has  been 
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If  you  like  to  draw  you  should  read  this  free  book  before 
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Photoplay  Magazine — Advertising  Section 

defense."  It  is  to  be  regretted  that  appeals  did 
not  carry  this  case  to  a  confirmation  in  the 
United  States  Supreme  Court  so  that  a  national 
precedent,  applicable  also  to  New  York  and 
the  subway,  might  have  been  established. 

While  such  broad,  general  principles  of  fun- 
damental rights  were  being  established  in  the 
experience  of  the  motion  picture,  it  was  build- 
ing up  a  personnel  of  the  studios  and  finding 
those  personalities  of  the  screen  which  always 
have  meant,  and  probably  always  will  mean, 
the  whole  motion  picture  to  the  public  and 
picture  patrons.  In  a  general  way.  the  motion 
picture  had  settled  to  a  policy  of  recruiting 
players  from  the  stock  companies  and  the  road- 
show circuit  riders  of  the  drama.  But  romantic 
incident  now  and  then  added  to  the  screen's 
gallery  of  fame- to-be. 

Down  in  Fourteenth  street  in  '09,  a  street  car 
conductor  observed  with  a  certain  interest  the 
comings  and  goings  at  Number  11,  the  busy 
Biograph  studios,  which  by  now  had  come  to  be 
locally  celebrated  and  pointed  out  as  the  place 
where  motion  pictures  were  made. 

This  conductor  was  something  of  a  romantic 
adventurer,  taking  things  as  they  came  and 
facing  life  with  a  whimsically  curious  interest. 
His  blue  uniform  and  the  job  on  the  jangling 
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EVEN  the  job  on  the  street  cars  had  come 
along  that  way  in  the  miscellaneous  se- 
quence of  happen-so.  Before  that  he  had  been 
a  dispenser  of  foaming  steins  in  a  German 
garden  uptown,  and  doing  rather  well.  Then, 
one  busy  night,  just  as  lie  rounded  a  turn  from 
the  tap  room  into  the  garden,  a  fellow  waiter 
gave  him  a  playful  nudge  and  his  high  held 
tray,  balanced  on  one  hand,  went  slam  at  the 
feet  of  the  headwaiter,  a  wreck  of  beer  and 
glassware.  He  resigned  on  the  spot,  thereupon 
abandoning  the  retail  end  of  the  brewery  busi- 
ness to  take  up  the  study  of  the  transportation 
business,  also  retail. 

Now  there  was  gossip  up  and  down  Four- 
teenth street  about  the  easy  money  that  people 
got  for  working  in  motion  pictures.  There 
might  be  opportunity  for  a  willing  hand  and  a 
quickheadinthatoldbrownstoneatNumbern. 

Presently,  abandoning  his  unform  for  natty 
tweeds,  the  adventuring  young  man  presented 
himself  at  the  Biograph  studios  and  intimated 
that  he  would  confer  the  favor  of  an  interview 
upon  the  management.  His  bearing  was  digni- 
fied and  distinguished,  and  his  accent  foreign, 
"M.  Henry  Lehrman  of  Paris." 

The  management  learned  to  its  entire  excite- 
ment and  delight  that  the  caller  was  a  cele- 
brated motion  picture  expert,  recently  con- 
nected with  the  Pathe  establishments  in  France 
and  that  he  would  consider  an  American  con- 
nection. M.  Henry  Lehrman  was  welcomed  to 
Biograph's  staff.  He  seemed  to  have  a  leaning 
toward  comedy  and  was  cast  for  it. 

Presently  a  fain  t  tinge  of  suspicion  arose  that 
perhaps  M.  Lehrman  was  not,  after  all,  a 
French  motion  picture  expert.  The  story  was 
whispered  about  and  soon  a  nickname  was  born 
of  it.  He  was  "Pathe"  Lehrman  thence  for- 
ward. For  some  years  thereafter  and  in  the 
casts  of  many  a  production  the  name  stuck 
and  appeared  on  the  screen,  accepted  as  an 
authentic  name. 

And  probably  France  could  not  have  made  a 
more  genuine  contribution,  anyway.  In  the 
opinion  of  not  a  few  of  his  contemporaries, 
Lehrman  added  importantly  to  the  develop- 
ment of  screen  comedy  technique  and,  as  an 
assistant  to  Mack  Sennett,  helped  to  evolve  the 
style  of  screen  extravaganza  which,  in  after 
years,  made  Keystone  and  Sennett  famous. 
Life  was  a  "Keystone"  to  this  adventuring 
Monsieur  Lehrman.  His  humorous  quips  and 
quirks  were  an  early  part  of  the  evolution  of  the 
now  well-recognized  craft  of  the  picture  spe- 
cialist known  as  the  "gag-man." 

In  the  early  summer  of  iqio.  Colonel  Selig 
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pictures  of  frontier  life,  a  topical  subject.  A 
whole  constellation  of  star  cowboys  was 
rounded  up  to  perform  for  the  camera  their 
feats  of  skill  and  daring. 

While  the  cowpunchers  circled  and  wheeled 
and  galloped  and  jumped  their  bucking 
mounts  by  the  camera,  a  United  States  mar- 
shal, with  a  bright  silver  star  on  his  beaded 
buckskin  vest,  sat  lazily  with  one  leg  over  the 
saddle  horn,  watching  the  proceedings  with  an 
interested  eye.  From  time  to  time  he  nimbly 
rolled  a  cigarette  in  a  bit  of  corn  husk,  Mexican 
fashion.  His  air  of  indifference  would  have 
indicated  that  he  thought  very  little  of  the 
cowboys'  performance,  but  he  was  interested 
in  the  clicking  camera. 

This  United  States  marshal  was  Tom  Mix, 
a  person  who  might  be  interested  but  seldom 
thrilled.  He  had  rather  run  the  gamut  of  the 
thrills  of  the  West  and  the  well  known  "great 
outdoors  of  God's  country  where  men  are 
men."  Tom  was  born  into  that  stuff.  His 
father  was  Captain  Mix,  of  the  hellroaring 
Seventh  United  States  Cavalry,  a  veteran 
wounded  at  the  battle  of  Wounded  Knee. 

And  Tom  himself  in  his  turn  had  had  more 
than  a  smell  of  powder.  A  youngster,  with  the 
experience  of  the  Southwest  behind  him,  he 
went  to  Cuba  as  a  scout  in  the  Spanish- 
American  war,  thence  to  the  Philippines  and 
on  to  the  fighting  in  China  at  the  battle  of 
Tien-Tsin.  Then,  back  from  foreign  advan- 
tures  and  scarred  with  the  wounds  of  conflict, 
he  went  into  the  Texas  Rangers.  Up  in  the 
valley  of  the  Pecos  in  New  Mexico,  it  was  Tom 
Mix  who  rounded  up  the  bandit  Shont  brothers 
and  collected  a  rifle  nick  in  his  shin  bone  along 
with  the  prisoners.  The  prisoners  were 
brought  back,  dead  and  alive,  respectively, 
fifty-fifty.  Now,  with  the  daughter  of  a 
Cherokee  chief  for  his  bride  and  a  rich  ranch 
in  the  Cherokee  Nation,  according  to  the  Film 
Index,  Mix  had  nothing  to  do  but  be  United 
States  marshal  and  ponder  on  the  passing  of 
the  good  old  days  of  general  excitement  in  the 
big  west. 

This  day  had  brought  him  the  sight  of  some- 
thing new  under  the  sun — the  motion  picture 
camera.    He  felt  impelled  to  participate. 

"  Is  this  a  private  round-up — or  can  I  get  in?" 

"If  you've  got  any  speed,  help  yourself  to 
the  excitement,"  replied  the  cameraman.  "I 
reckon  there's  room." 

Mix  slipped  back  into  the  stirrups  and  shot 
his  pony  out  into  the  field.  There  was  action 
aplenty.  Then,  just  by  way  of  topping  it  off, 
he  roped  and  bulldogged  a  steer  in  a  close-up 
in  the  matter  of  sixteen  seconds. 

IN  July,  Selig  released  "Ranch  Life  in  the 
Great  Southwest,"  and  Tom  Mix  was  started 
on  his  way  to  fame  and  the  career  of  a  motion 
picture  cowboy.  Today,  in  1923,  he  rambles 
the  boulevards  of  Hollywood  in  a  long-nosed 
sport  car  with  Spanish  saddle  leather  and 
Mexican  silver  trimmings,  combining  the 
decorative  traditions  of  the  range  with  the 
luxuries  of  the  storybook  life  of  the  screen 
star. 

While  the  big  Southwest  was  making  a  con- 
tribution of  the  picturesquely  talented  Mr.Mix, 
the  backwoods  of  wildest  Maine  sent  out 
another  young  man  with  a  taste  for  the  adven- 
tures of  the  open  places  to  wander  into  New- 
York  and  a  screen  career.  Larry  Trimble  was 
an  eerie  youth,  rich  with  the  lore  of  the  forests 
about  his  native  village  of  Robbinston  and  the 
ways  of  the  wild  things  that  lived  there.  He 
was  a  writer  of  adventure  tales.  He  came  to 
New  York  to  get  closer  to  his  market  and, 
mayhap,  to  study  the  editors  as  he  had  studied 
the  lynx  and  the  minx  up  in  Maine. 

New  York  was  full  of  wonders  to  this  explor- 
ing young  person,  alert,  red-headed  and 
vigorous.  He  found  copy  everywhere.  In 
quest  of  a  story  about  the  rising  art  of  the 
motion  picture,  he  went  over  to  Flat' u  h  to 
visit  the  Vitagraph  studios  and  was  entranced 
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scenes.  Trimble  went  to  write  a  story  for  a 
magazine  and  stayed  to  take  a  desk  in  the 
scenario  department.  He  took  the  trilling 
beginner's  salary  of  fifteen  dollars  a  week  to 
be  close  to  this  gold  mine  of  new  material. 

Then  came  the  day  when  Florence  Turner 
and  her  director  came  to  an  impasse  with  a 
Pomeranian  dog  that  could  not  act  to  their 
liking.    Trimble  was  looking  on. 

"I've  got  a  dog  at  home  that  can  do  better 
than  that  mutt,"  Trimble  suggested. 

"Bring  on  your  dog,"  the  director  replied. 

So  the  next  day  Trimble  appeared  with 
"Jean,"  a  collie  destined  to  a  large  share  in 
screen  fame  in  Yitagraph  dramas. 

Trimble,  it  seemed,  knew  a  great  deal  about 
dogs.  He  averred  he  could  talk  the  language 
of  dogs  and  make  them  understand.  He  put 
"Jean"  through  her  part  with  Florence  Turner 
with  such  marked  success  that  the  collie  was 
put  on  the  payroll  for  twenty-five  dollar^  a 
week  and  worked  in  a  long  series  of  pictures. 
Some  men  might  have  been  annoyed  to  have 
their  dog  offered  a  higher  salary,  but  not 
Trimble.     He  appreciates  dogs. 

Along  with  the  success  of  "Jean,"  there  was 
soon  a  fuller  recognition  for  her  master. 
Florence  Turner  suggested  to  Commodore 
Blackton  that  Trimble  might  be  as  succe>=ful 
directing  actors  as  he  was  with  dogs.  So 
Trimble  shortly  became  a  Vitagraph  director. 

HTHIS  same  season  saw  the  screen  advent  of 
*•  the  late  John  Bunny.  Bunny  found  himself 
with  nothing  to  do  this  summer  of  'io,  follow- 
ing a  close  of  an  engagement  with  Annie 
Russell  in  "A  Midsummer  Night's  Dream." 
in  which  he  had  the  role  of  Bottom.  Back  of 
that  was  a  typically  varied  actor  life  story  and 
experience. 

Bunny  was  one  of  those  men  you  so  rarely 
meet,  a  native  born  New  Yorker.  He  grew  up 
in  Brooklyn  and,  after  public  school,  found  a 
job  in  a  market  where  he  sold  shoestrings  and 
potatoes.  This  was  tedious  and  unromantic. 
He  ran  away  with  a  minstrel  show  and  became 
a  rambling  player.  A  long  array  of  famous 
associations  came  his  way.  He  appeared  with 
Sol  Smith  Russell,  famous  to  an  earlier  genera- 
tion, and  added  to  his  laurels  in  the  role  of 
Hi  Holler  in  "Way  Down  East." 

From  Shakespearean  roles  to  the  motion 
picture  was  perhaps  something  of  a  drop,  but 
Bunny  in  his  way  was  a  philosopher.  He 
ambled  over  to  Flatbush  and  joined  the  wait- 
ing throng  of  volunteer  extras  in  the  Vita- 
graph  yard. 

It  was  early  on  a  heated  summer  morning. 
Fat  John  Bunny  was  hot  and  uncomfortable. 
He  took  off  his  hat  and  wiped  a  beaded  brow. 
Just  at  this  juncture  Commodore  Blackton  and 
Albert  E.  Smith,  Vitagraph  executives,  were 
looking  out  of  an  office  window  that  overlooked 
the  yard.  Together  and  at  the  same  instant 
they  spied  Bunny. 

"What  a  face!" 

In  that  instant  Bunny's  fortune  was  made. 

One  of  Bunny's  earliest  screen  appearances 
was  in  "The  New  Stenographer,"  with  Flora 
Finch  playing  opposite.  The  story  was 
written  and  directed  by  Commodore  Blackton. 
It  was  a  hit,  and  lives  today  as  a  screen  tradi- 
tion. 

Miss  Finch  and  Bunny  appeared  in  many  a 
picture  together  thereafter,  and  for  some  years 
the  conductors  of  "fan  inquiry"  columns  in 
motion  picture  publications  were  busy  answer- 
ing the  question: 

"  Are  John  Bunny  and  Flora  Finch  married?" 

The  answer  was  "  No."  And  it  might  have 
been  added  that,  off  the  set,  Bunny  and  Miss 
Finch  lacked  several  degrees  of  having  a  warm 
friendship. 

Few  others  of  Vitagraph's  great  array  of 
famous  stars  attained  such  fame  as.Bunny's. 
He. was  the  first  world-famous  comedian  of  the 
screen.  He  attained  renown  in  the  days  when 
Charlie  Chaplin  was  still  appearing  in  English 
music  hall  acts  without  a  faint  prospect  of  his 
coming  dominion  of  the  screen,  and  when  Mack 
Sennett,  the  master  director  of  comedy,  was 
still  an  unknown  Biograph  player. 


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Bunny  was  among  the  earliest  players  really 
starred.  Since  he  appeared  in  comedies 
written  around  him  and  his  vast  girth,  it  was 
a  logical  step  to  include  his  name  in  the  titles, 
giving  him  an  early  entry  into  screen  publicity. 
In  1912,  Bunny  was  sent  abroad  with  Larry 
Trimble  as  director  in  charge.  Trimble 
started  energetically  and  worked  his  company 
on  the  way  across,  producing  "Bunny  All  at 
Sea."  In  Ireland  they  made  "Bunny  Blarn- 
eyed," and  in  England,  "  Bunny  at  the  Darby," 
and  a  number  of  other  comedies  of  like  tenor. 
In  this  same  191 2,  Bunny  grew  alarmed  at 
his  weight  and  dieted  off  forty  pounds.  It  was 
almost  fatal  to  his  work.  His  popularity  went 
off  with  his  tonnage.  Bunny  went  back  to 
three  meals  a  day  and  fattened  the  box  office 
reports. 

Commenting  on  Bunny,  the  London  Satur- 
day Review  remarked:  "His  face  is  more 
familiar  than  Harry  Lauder's  or  Gladstone's. 
Mr.  Bunny's  emotions  are  all  on  a  grand  scale. 
His  terror  is  the  panic  of  a  whole  army." 

This  same  year  that  saw  the  beginning  of 
the  famous  Bunny's  screen  career,  brought  in 
Norma  Talmadge,  who,  due  to  erroneous  infor- 
mation, was  attributed  to  an  earlier  period  in  a 
previous  chapter  of  this  narrative. 

The  Talmadge  sisters  three,  Norma,  Con- 
stance and  Natalie,  lived  over  Ocean  avenue 
way  in  Brooklyn.  While  Norma  was  yet  a 
school  girl,  her  first  pictorial  experience  came 
when  an  admiring  photographer  induced  her 
to  pose  for  song  slides.  The  rise  of  the  motion 
picture  theater  had  given  impetus  to  the 
industry  of  making  the  stereopticon  accom- 
paniment for  the  illustration  of  the  song  num- 
bers which  decorated  the  intermissions  of  the 
picture  programs  in  the  nickelodeon  theaters. 
There  was  a  large  demand  for  pretty  girls  to 
pose  for  the  still  cameras  that  made  the  slides. 
A  notable  number  of  the  day  was  Irving 
Berlin's  "Stop,  stop,  stop!"  a  song  hit  which 
went  out  to  the  nickel  shows  with  Miss 
Talmadge  on  the  slide  pictures.  This  had  no 
direct  connection  with  her  subsequent  screen 
career,  save  to  turn  her  attention  cameraward. 
One  of  the  diversions  of  the  Talmadge 
sisters  was  playing  "make-believe  movies"  in 
their  home.  One  of  these  playtime  "parlor" 
performances  was  observed  by  a  chance  caller, 
who  volunteered  the  opinion  that  Norma  might 
really  prove  capable  in  motion  pictures.  This 
caller  supplied  a  letter  of  introduction  to  a 
casting  director  at  Vitagraph. 

It  was  an  exciting  day  for  Norma  when  she 
made  ready  for  her  invasion  of  Vitagraph. 
Accompanied  by  her  mother,  she  fared  forth 
and  pushed  into  the  throng  that  crowded 
Vitagraph's  yard.  In  that  busy  medley  of 
people  and  affairs  she  was  a  long  time  present- 
ing her  htter  to  the  casting  director.  He 
looked  Norma  up  and  down. 

"Walk  around  out  there  in  front  of  me." 
Miss  Talmadge  was  mayhap  a  little  self- 
conscious  at  this  critical  moment.  She  per- 
haps wondered,  the  way  girls  do,  if  he  could 
guess  that  her  brave  gown  was  a  made-over 
dress  of  her  mother's. 
"I  guess  you'll  do." 


NORMA  TALMADGE'S  name  and  char- 
acteristics went  down  in  the  book  and  she 
was  to  be  called  when  needed.  Meanwhile,  she 
was  invited  to  take  a  look  about  the  studio. 

Florence  Turner,  her  particular  screen  favor- 
ite, was  working  on  the  first  set  encountered. 
With  a  happy  cry,  Norma  dashed  into  the 
scene  to  embrace  Miss  Turner  and  pour  out 
her  admiration. 

The  director,  angered  at  the  interruption, 
shoed  Miss  Talmadge  off  the  set  and  started 
a  re-take.  The  first  scene  in  which  Miss 
Talmadge  appeared  never  went  on  the  screen. 

Those  were  days  of  the  glory  of  Vitagraph, 
the  period  of  it  greatest  prosperity  when,  at 
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employes.  Salaries  and  production  costs  were 
low  and  the  money  was  coming  rapidly.  Smith, 
B'ackton  and  Rok  were  prospering  mightily 

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after  the  lean  years  of  their  wars  with  Edison. 
At  Christmas  time  there  was  holiday  largess 
of  bonuses  and,  in  old  Number  4  studio,  the 
Yitagraph  chiefs  stood  at  a  long  table  passing 
out   turkeys  as  the  employees  marched   by. 

On  this  wave  of  prosperity  J.  Stuart  Black- 
ton  took  to  the  sea  with  an  ama/.ing  series  of 
costly  speed  boats  and  became  the  Commodore 
of  the  Atlantic  Yacht  club,  acquiring  the  title 
that  he  has  carried  ever  since  in  the  motion 
picture  world. 

This  speed  boat  diversion  brought  into 
Blackton's  service  Wallace  Van  Nostrand,  a 
motor  and  racing  expert,  who  tinkered  the 
Commodore's  boats  and  engineered  his  marine 
exploits.  Van  Nostrand  followed  the  Commo- 
dore ashore  and  also  joined  the  Vitagraph 
family,  becoming  known  on  the  screen  as 
Wally  Van. 

In  this  same  period,  Vitagraph  acquired 
Hugh  McGowen,  a  fat  and  funny  person.  Mr. 
McGowen,  despite  his  cheerful  predisposition 
to  slapstick,  was,  according  to  his  contem- 
poraries at  Vitagraph,  an  undertaker  in  Ocean 
avenue  when  he  followed  the  crowd  of  extras 
into  Vitagraph  yard,  curiously  seeking  to  see 
what  all  the  excitement  was  about.  Nothing 
seemed  to  be  taking  place,  so  McGowen  rested 
his  bulk  on  a  bench  and  dropped  off  to  sleep. 

Now  this  was  the  most  outstanding  studio 
trait  of  the  distinguished  John  Bunny.  It 
followed  by  the  logic  so  peculiar  to  the  motion 
picture  mind  that  another  fat  man,  who  was 
equally  sleepy,  might  very  well  be  also  funny. 
They  poked  McGowen  into  wakefulness  and 
put  him  to  work.  He  broke  into  motion 
pictures  in  his  sleep — probably  the  only 
instance  of  its  kind  in  the  history  of  the 
industry.  To  the  followers  of  the  screen  the 
merry  undertaker  became  known  as  Hughey 
Mack. 

Out  in  Chicago  Essanay  began  increasing 
its  stock  company  and  acquired  J.  Warren 
Kerrigan,  who  then  rejoiced  in  the  joyous 
title  of  "The  Gibson  Man,"  presumably  be- 
cause he  was  at  least  as  handsome  as  the 
Gibson  Girl  of  Charles  Dana  Gibson's  creating. 
It  was  early  in  1910  when  Kerrigan  made  his 
first  screen  appearance  in  Essanay's  "A  Voice 
from  the  Fireplace."  Kerrigan's  fatal  beauty, 
by  the  way,  had  led  him  to  pose  for  New  York 
illustrators,  and  he  had  some  share  of  stage 
repute  from  his  appearances  in  the  Shubert 
productions  of  "Brown  of  Harvard"  and 
"The  Road  to  Yesterday." 

In  the  next  chapter  of  this  history  we  shall 
review  the  strangely  capricious  career  of  the 
quest  of  natural  color  for  the  screen,  a  phase 
of  the  art  which  has  yet  to  find  itself  today 
and  from  which  surprising  developments  may 
now  come  at  any  time.  The  pursuit  of  color 
is  nearly  as  old  as  the  motion  picture  itself, 
and  the  years  back  there  contain  many  a  never 
told  tale  of  absorbing  interest.  It  is  one  of 
the  many  dramas  within  the  drama  of  the 
motion  picture. 

[  TO  BE  CONTINUED  ] 


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I  method.  No  canvassing  or  soliciting.  We  show  you 
1  how,  guarantee  you  steady  work  at  home,  no  matter 
J  where  you  live,  and  pay  you  cash  each  week.  Full 
I  particulars  and  booklet  free.  Write  to-day. 
I  AMERICAN  SHOW  CARD  SYSTEM  LIMITED 
I  Authorized  and  Fully  Paid  Capital,  One  Million  Dollars 
Adams  Bldg.  Toronto,  Canada. 


SUBSCRIPTION  RATES 

FOR  PHOTOPLAY 

will  be  found  on  page  five  below 
the  table  of  contents. 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


i  27 


Cecil  and  Bill 

[  CONTINUED  FROM  PAGE  51  | 

to  mind.  In  the  great  living  room  of  Cecil's 
ranch  home,  Paradise,  is  a  pipe  organ.  A  mag- 
nificent affair  it  is,  too,  painted  in  vivid  colors 
and  carrying  out  the  motif  of  the  Totem  Pole 
Indians  that  pervades  the  place. 

When  he  entertains  guests  there,  or  goes 
away  for  a  week-end  rest,  Cecil  plays  the  organ. 
He  sits  back  on  the  big  divan,  presses  a  button, 
and  the  electric  attachment  renders  the  rolls. 
It  is  very  beautiful  and  Cecil  has  a  varied  and 
interesting  taste  in  musical  selections. 

In  William  de  Mille's  Hollywood  home  there 
is  an  organ,  too — an  old-fashioned  affair,  with 
pedals  and  pull-stops.  And  William  loves  to 
sit  there,  dreaming  over  the  yellow  keys,  pump- 
ing the  worn  pedals,  and  bringing  out  the 
sweetest  strains  imaginable. 

Both  brothers  have  homes  in  Hollywood. 

The  Cecil  B.  De  Mille  mansion  is  in  fash- 
ionable Laughlin  Park  and  tops  an  entire  hill. 
It  is  surrounded  by  rolling,  terraced  lawns  and 
exquisitely  kept  gardens.  Inside  the  stately 
house  of  white  plaster  everything  reflects  aris- 
tocratic wealth  and  elegance.  Noiseless  serv- 
ice.   Priceless  rugs.    Marvellous  dinners. 

Mrs.  Cecil  De  Mille  is  one  of  the  most  aristo- 
cratic and  beautifully  gowned  women  in  Los 
Angeles,  and  a  social  leader  of  importance. 

The  William  de  Mille  house  occupies  a  valu- 
able piece  of  ground  on  a  section  of  the  Boule- 
vard that  is  fast  yielding  to  business  demands. 
It  is  a  big,  brown,  shingle  affair,  spacious  and 
rambling  and  weather-beaten.  The  yard  is 
filled  with  palm  and  fig  trees,  and  in  the  sum- 
mer sun  they  give  off  a  delicious  and  intoxi- 
cating perfume.  An  army  of  wire-haired  fox 
terriers  races  about,  barking  and  tumbling  in 
sheer  joy  of  living.  In  the  summer,  there  is  a 
carpet  of  California  poppies  and  wild  larkspur 
under  the  trees,  and  in  winter  they  leave  a  pale 
gold  stubble. 

Altogether  a  homey,  comfortable  house  with 
a  lot  of  personality  and  an  air  of  delightful 
carelessness. 

Mrs.  William  de  Mille  is  a  small,  cheerful, 
frank-spoken  woman  of  terrific  intellectual 
force  and  a  wonderful  sense  of  humor.  Her 
clothes  are  obviously  built  for  service  and  com- 
fort and  not  for  decorative  purposes.  She  is 
the  daughter  of  Henry  George,  and  she  and 
William  still  think  the  way  to  have  a  good  time 
is  to  fling  their  money  and  their  brains  behind 
the  lost  cause  of  the  single  tax. 

Cecil  De  Mille  is  a  very  rich  man.  His  for- 
tune is  estimated  at  from  five  to  fifteen  mil- 
lions. A  director  of  banks.  An  owner  of  oil 
companies.  He  has  gambled — mildly — with 
his  vast  earnings,  and  increased  them  many 
times.  He  is  shrewd  and  fearless  in  money 
matters. 

William  is  a  comparatively  poor  man.  He 
has  made  and  lost  two  or  three  fortunes.  Now 
he  has  become  a  conservative  investor  in  bonds 
and  mortgages. 

Cecil's  pictures  cost  on  an  average  three  and 
a  half  times  as  much  as  William's.  For  ex- 
ample, "Adam's  Rib"  cost  $350,000  or  there- 
|  abouts,  and  "Only  38"  cost  about  $125,000. 

UNTIL  this  year,  Cecil's  pictures  have  made 
tremendous  fortunes,  each  of  them,  and 
William  has  been  a  comparative  failure  as  a 
box  office  director.  Now  William's  following 
seems  to  be  strong  enough,  and  the  people  who 
love  the  worth-while  things  he  has  been  doing 
seem  to  have  increased  enough  so  that  his 
pictures  are  making  nearly  as  big  returns  on 
the  money  invested  as  his  brother's. 

William  is  a  splendid  public  speaker. 

Cecil  rarely,  almost  never,  can  be  induced  to 
talk  before  many  people. 

William  loves  tennis  and  has  played  in  some 
of  the  big  western  tournaments. 

Cecil  likes  yachting  and  swordfishing,  and 
holds  a  number  of  records  for  the  big  catches 
he  has  made. 

Cecil  De  Mille  is  the  most  brilliant  and  in- 


L 


'"Appeals  to  the  Eye 


The  Natural  Eyelash  Curler 

Adds  Loveliness  to  One's  Eyes, 
in  a  Simple  Natural  Way 

The  beauty  that  Kurlash  adds  to  one's  eyes  is  all  the  more  charm- 
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The  eyes  at  once  appear  larger.  More  light  enters  them.  They  sparkle  with  new 
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YouMI  admire  Kurlash  for  its  own  beauty,  too.  A  dainty  gold-filled  device  in  a 
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Once  purchased,  one  has  its  services  for  a  lifetime. 

If  you  can't  get  Kurlash  at  your  retail  shops,  you  may  secure  one  direct  from  us 
for  the  purchase  price,  $5.  Charges  prepaid.  If  your  eyes  are  of  average  size,  order 
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//  you  want  further  information,  write  us. 

The   Stickel    Company,   Inc. 

384  Cottage  St.,  Rochester,  N.  Y. 

As  a  Gift 

Kurlash  is  so  new,  so  at- 
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PLIZABETH  ARDEN  recommends 
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Saxophone  Players 
in  Big  Demand 

For  Bands  and  Orchestras,  for  church,  lodge  and 
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IN  fact,  the  entire  body, 
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Anklets,  for  re- 
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the  ankles.  Send 
ankle  measurement. 
Per  pair  $7.00 
Extrahigh   .    9.00 

Brassiere — to  reduce  bust 

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Neck  and  Chin  Reducer      3.50  Send  for  Illus- 

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Photoplay  Magazine — Advertising  Section 


spiring  man  to  talk  to  that  I  have  ever  met. 
You  come  away  from  him  with  your  mind 
keenly  alive,  stimulated,  stirred  up.  He  is  fas- 
cinating, forceful,  People  who  disapprove  of 
his  pictures  or  disagree  with  his  ideas,  never- 
theless invariably  yield  to  his  charm  of  manner 
and  mind. 

He  has  a  lovely  sense  of  humor,  and  his  eyes 
twinkle  at  you,  even  when  he  is  most  earnest. 
He  is  a  bit  of  a  poseur.  He  believes  in  a  setting. 
It  is  his  shield  from  the  inroads  of  life  and  the 
demands  of  the  public. 

He  is  aggressive  and  constantly  reaching  out 
for  new  ideas. 

William,  on  the  other  hand,  is  slow  and  pleas- 
ant, much  sounder,  much  deeper  and  much 
more  human  to  talk  to.  He  is  not  so  impres- 
sive at  the  time,  but  you  will  think  for  weeks 
about  things  he  has  said. 

He  will  probably  be  intensely  annoyed  with 
me  for  saying  it,  but  he  always  reminds  me  of  a 
character  Barrie  might  have  written. 

Balzac  alone  could  have  drawn  C.  B. 


The  Most  Engaged  Girl 
in  the  World 

[  CONTINUED  FROM  PAGE  37  ] 

A  man  who  is  always  talking  has  got  to  be 
either  a  bore  or  a  liar.  I've  known  them  to  be 
both.     But  that's  neither  here  nor  there. 

I  admit  I  should  like  a  handsome  husband. 
Like  every  other  girl  in  the  world,  I've  seen 
a  lot  of  men  it  would  be  almost  too  easy  to  fall 
in  love  with.  These  good-looking  young  shieks 
that  remind  you  of  posters  of  the  season's  best 
half-back,  can  dance  like  Mordkin,  and  dress 
like  the  ads  in  Vanity  Fair.  Sleek-haired 
Romeos  with  deep-dark  eyes,  and  elegant 
voung  blondes  with  tanned  skins  and  blue-blue 
optics  have  their  advantages. 

That's  all  very  well  for  the  little  necessary 
emotions  along  life's  journey. 

No  woman  is  immune  from  these  passing 
thrills,  no  matter  how  intelligent  she  may  be. 

But  marrying — ah,  marrying  is  something 
else  again. 

I  HOPE  I  shall  be  strong-minded  enough 
never  to  indulge  in  the  luxury  of  a  handsome 
husband. 

That's  assuming  a  distinct  liability  which 
even  Lloyds  can't  insure. 

No,  I'd  rather  choose  a  husband  for  his 
brains.  They  all  look  alike  after  about  so  long 
anyway.  Even  the  most  beautiful  scenery 
can  become  monotonous  if  there's  no  drama 
going  on  in  it. 

When  I  select  a  husband,  if  I  ever  do,  I  think 
my  yardstick  will  be  to  measure  his  faults  and 
be  sure  I  can  live  with  them. 

His  virtues  will  take  care  of  themselves. 

After  all,  no  matter  how  fine  and  noble  and 
splendid  a  person  may  be,  if  his  faults  drive 
you  crazy,  it's  bound  to  be  difficult  to  live 
with  him. 

For  instance,  I  have  my  little  pet  aversions. 
I  could  never,  never,  never  be  happy  with  a 
man  if  he  cut  his  hair  square  across  the  back, 
or  ate  creamed  spinach,  or  wore  rubbers,  or 
liked  poodle  dogs,  or  drank  vanilla  ice  cream 
sodas,  or  wore  pink  carnations  in  his  button- 
hole, or  read  all  the  ads  in  the  Sunday  papers, 
or  carried  an  umbrella,  or  bought  plaid  over- 
coats, or  laughed  in  the  middle  of  a  funny  story, 
or  didn't  laugh  at  the  end,  or  fussed  with 
waiters,  or  added  up  the  dinner  check,  or  made 
a  noise  when  he  swallowed  or  used  pink  powder 
after  he  shaved,  or  wore  buttoned  shoes,  or 
dotted  ties,  or  read  over  my  shoulder — oh, 
little  trifles  like  that. 

Not  at  all  important.  No?  But  if  you  can't 
live  with  them,  you  can't  live  with  them. 

The  mother  instinct  in  women  makes  them 
love  men  for  their  faults,  anyway. 

Only  pick  your  faults. 

Some  women  can  stand  one  kind  of  faults, 
and  .  ome  can  stand  others. 


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Decide  which  of  these  ringg  you  like  best  and  send 
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Off  Your  FAT 

Don*t  Pay  Me  a  Penny 

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I  don't  care  how  fat  you 
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One  woman  will  put  up  with  infidelity,  if  a 
man  is  kind  and  pays  his  hills  on  the  first  of 
every  month.  Another  woman  doesn't  care  if 
the  bill  collectors  move  their  cots  right  up  on 
the  front  porch,  but,  if  a  man  looks  at  a 
pretty  girl  getting  into  an  automobile,  she  will 
talk  about  it  for  a  month. 

One  woman  doesn't  care  if  her  husband  has 
been  out  breaking  the  i8th  amendment  into  a 
thousand  pieces,  but  if  he  comes  home  and 
hangs  his  coat  on  the  floor  and  his  collar  under 
the  bed  and  his  socks  over  her  new  lamp  shade, 
it's  grounds  for  a  divorce.  Another  woman 
can  stand  ashes  on  the  best  carpet,  and  papers 
on  the  good  davenport,  and  linger  marks  on 
the  mahogany  baby  grand,  but  if  she  smells  a 
whiff  of  home  brew  it  means  home  to  mama 
for  her. 

And  it  doesn't  matter  if  a  husband  is  ioo 
per  cent  on  principle  and  honor  and  morality, 
if  he  reads  the  paper  at  breakfast  and  forgets 
her  birthday,  but  remembers  George  Washing- 
ton's because  there  is  a  prize-fight  on  George's. 
His  bank  balance  and  his  court  record  may 
be  perfect,  but  if  he  can't  resist  the  temptation 
to  see  who  won  the  ball-game  or  how  Johnston 
and  Lenglen  came  out  at  Wiml  ledon  before  he 
kisses  wine,  he  is  not  her  idea  of  a  good 
husband. 

A  good  man  isn't  always  a  good  husband. 

A  great  many  virtuous  and  moral  people 
permit  themselves  fault;  of  temper  and  dis- 
position that  make  marriage  almost  as  diffi- 
cult as  the  major  faults  of  character. 

They  may  keep  the  Ten  Commandments, 
but  they  don't  live  up  to  Paul's  beautiful 
explanation  in  the  13th  chapter  of  his  epistle  to 
the  Corinthians. 

Personally,  I  abhor  hypocrisy,  and  lying, 
and  uncharitableness,  and  grouchiness,  and 
unkind  words,  and  jealousy,  and  suspicion,  and 
petty  spying,  and  the  habit  of  disagreeing  all 
the  time,  and  lack  of  appreciation,  and  joyless- 
ness,  and  superiority  that  tries  to  shake  your 
own  self-confidence,  and  rudeness,  and  readiness 
to  take  offense  where  none  is  meant,  more  than 
any  other  faults  in  the  world. 

I  couldn't  stand  a  man  who  always  objected 
to  everything  I  did,  from  the  way  I  put  stamps 
on  my  letters  to  the  way  I  asked  central  for  a 
telephone  number.  I  couldn't  stand  anyone 
who  wasn't  happy  and  didn't  like  to  laugh. 

Laughter  is  the  most  precious  possession 
that  two  people  can  share. 

I  couldn't  endure  dishonesty  of  any  kind — 
even  the  so-called  smart  business  practices  that 
are  supposed  to  be  quite  all  right. 

I  couldn't  stand  a  jealous  man,  or  one  that 
didn't  have  faith  in  me  and  in  my  own  decency 
and  my  own  intention  to  do  right  and  play- 
fair. 

I  couldn't  live  with  a  man  who  wanted  to 
work  all  the  time  and  didn't  know  how  to  enjoy 
the  beautiful  things  in  the  world — like  music, 
and  books,  and  outdoors. 

SO  it  seems  to  me  the  safest  marriage-insur- 
ance is  to  learn  their  faults  and  see  if  they 
are  the  ones  you  can  live  with. 

And  if  they  can  live  with  yours. 

Because,  no  matter  how  hard  we  are  trying, 
we  all  have  faults. 

And  understanding  and  kindness  and  trust 
help  us  to  get  rid  of  them  much  more  quickly 
than  criticism  and  harsh  words. 

The  greatest  problem  to  face  about  marriage 
is  that  it  must  last  forever.  Or  it  should,  if 
possible. 

And  yet  the  thing  that  is  most  often  fatal  to 
romance  is  time.  Romance  is  so  gauzy,  so 
fragile,  so  effervescent.  A  touch  of  laughter, 
a  bad  quarter  of  an  hour,  a  breath  of  disagree- 
ment, and  it's  gone. 

So,  I've  watched  my  friends,  I've  studied 
my  own  experience — it's  always  a  comfort  to 
know  that  at  least  part  of  one's  mistakes  are 
in  the  past — and  I've  decided  that  the  kind  of 
a  man  I  really  would  like  to  marry  is  the  kind 
of  a  man  I  would  choose  for  a  pal. 

It's  much  easier  to  live  together  when 
romance  is  gone  than   when  comradeship  is 


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gope.  I  want  a  man  who  likes  the  same 
things  I  do.  Who  reads  the  same  books. 
Dances  the  same  steps:  Loves  the  same  dogs: 
Who  trusts  me:  Who  thinks  I  have  a  right  to 
my  opinions  and  my  likes  and  dislikes:  Who 
has  the  same  viewpoint  about  life  and  work 
and  immortality  that  I  have. 

A  professional  woman — an  artist — must  be 
particularly  sure  before  marrying  that  the  man 
understands  the  demands  that  her  work  makes 
upon  her;  that  he  realizes  not  only  that  it 
requires  most  of  her  time,  but  that  it  absorbs 
the  greater  part  of  her  energy  and  the  best  of 
her  mentality.  If  he's  willing,  honestly  willing, 
to  accept  those  terms,  they  can  be  happy. 
Otherwise,  there  isn't  a  chance. 

I've  been  fortunate  enough  in  my  life  to  have 
a  number  of  close  and  very  wonderful  girl 
chums.  I've  had  two  sisters,  to  whom  I  am 
very  close.  _  You  choose  a  woman  friend 
because  she  is  congenial  and  understanding  and 
helpful  and  honest  and  interesting  and  com- 
fortable to  be  with  when  things  go  wrong,  and 
inspiring  and  appreciative  when  they  go  right. 
You  love  your  sisters  for  those  same  qualities, 
of  course. 

And  it  seems  to  me  that's  a  test  that  might 
be  applied  to  the  man  you  want  to  marry. 
Granting  that  original  and  unexplainable  at- 
traction that  must  exist  between  a  man  and  a 
woman  before  they  even  consider  marriage, 
would  you  want  him  for  a  pal?  Would  you 
choose  him  for  a  best  friend  or  a  chum? 

And,  as  I  said  in  the  beginning,  don't  pay 
any  attention  to  one  word  of  this,  because 
I'm  just  as  apt  to  do  something  entirely 
different.  And  like  every  other  woman,  I'm 
always  hoping  that  a  real  love,  a  beautiful 
love,  so  big  that  all  rules  and  all  problems 
and  all  difficulties  are  left  outside  the  door, 
will  come  to  me  and  last  forever  and  ever. 


Speaking  of  Pictures 

[  CONTINUED  FROM  PAGE  35  ] 

"Of  course,  you  may,"  declared  Carmel, 
flushed  with  the  complimentary  tribute. 
"Come  right  over  to  my  dressing  room." 

"Oh,  thank  you.  Miss  Naldi!"  exclaimed  the 
lady  effusively. 

Y\7ITH0UT  doubt  the  two  best  informed, 
*^  most  popular,  and  cleverest  writers  on 
motion  picture  topics  today  are  Adela  Rogers 
St.  Johns  and  Herbert  Howe,  both  of  whom  are 
now  representing  Photoplay  in  Hollywood. 
We  have  received  hundreds  of  letters  asking 
about  them  and  next  month  we  shall  give  you 
their  pictures  and  tell  you  something  of  their 
past  and  present.  Or  rather,  they  will  tell  on 
each  other.  No  social  gathering  of  the  film 
folks  is  complete  without  them  and  if  they  told 
all  they  know,  what  a  party  it  would  be!  If 
you  fail  to  follow  Herb's  monthly  page,  en- 
titled "Close-ups  and  Long  Shots,"  you  are 
missing  a  treat.  Mrs.  St.  Johns  has  become 
famous  as  a  short  story  writer  for  Cosmopoli- 
tan and  Photoplay,  and  is  writing  a  serial  of 
motion  picture  life  for  this  magazine  which  will 
begin  in  the  December  issue.  It  is  called  "The 
Love  Dodger,"  and  it's  just  as  good  as  the 
title. 

nTHE  prize  publicity  effort  of  the  month: 
*■  "Black  Oxen  are  the  most  virile  of  animals." 
Think  that  over. 


A  Mean  Retort 

YWrLLIAM  RUSSELL  was  watching  Al  St. 
W  John  on  the  lot  the  other  day,  as  the 
comedian  skipped  through  a  laugh-inciting 
incident. 

"Good  gag,  Al,"  commented  Bill. 

"Oh,  I've  had  that  in  my  head  for  a  long 
time,"  replied  Al. 

"Sort  of  aged  in  the  wood?"  remarked  Bill, 
and  was  gone  before  Al  could  frame  up  a  nasty 
comeback . — Morn  ing  Telegraph . 


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The  new  discovery — already  used  by  thousands — is 
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Unlike  other  eyelash  preparations.  Lashbrow  Liquid 
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Photoplay  Magazine — Advertising  Section 

Gossip — East  and  West 

[  CONTINUED  FROM  PAGE  105  ] 

A/fARY  PICKFORD  is  to  play  Juliet  for  the 
*•  "■'screen.  This  has  been  a  "consummation 
devoutly  to  be  wished"  for  a  long  time,  and  at 
last  it  has  been  arranged.  This  "Romeo  and 
Juliet"  will  be  the  first  production  in  which  she 
will  be  directed  by  Ernst  Lubitsch.  And,  hark 
ye!  Her  Romeo  will  be  none  other  than  friend 
husband,  Douglas  Fairbanks  himself.  There's 
one  good  thing.  Doug  won't  have  to  use  a 
l.idder  to  reach  the  balcony.  He  can  jump  up. 
This  will  be  their  first  appearance  in  the  same 
picture. 

And  while  we  are  on  this  Shakespeare  line, 
be  it  known  that  Norma  Talmadge  is  also  plan- 
ning to  do  Juliet,  just  as  soon  as  she  completes 
"The  Dust  of  Desire."  These  two  productions 
will  make  four  versions  of  the  tragedy  that 
have  been  done.  Francis  Bushman  and  Bever- 
ly Bayne  did  it  e ome  time  ago,  and  Theda  Bara 
also  played  Julicl. 


HpHE  weird  and  mystic  letter  "M  "  is  playing 
■*■  a  heavy  role  in  one  of  the  most  exciting  and 
dankest  mysteries  with  which  Hollywood  has 
ever  had  to  deal.  Interwoven  in  the  mystery 
with  this  letter  are  stealthy  spies,  masked  men 
lying  in  ambush,  shots  fired  from  dark  corners, 
threats  of  assassination  and,  it  is  rumored, 
several  society  scandals.  The  mystic  "M" 
appears  in  these  factors  in  the  mystery:  Mary 
Miles  Minter,  Ma  Minter,  Mary  Miles 
Minter's  Millions.  The  whole  thing,  which 
seems  to  be  more  or  less  of  a  tempest  in  a  tea- 
pot, appears  to  have  been  stirred  up  by  some- 
one who  wants  to  revive  the  William  Desmond 
Taylor  case.  Of  course,  Mary  and  Ma  are  at 
swords'  points.  Ma  was  taken  to  the  hospital, 
very  ill,  and  Mary  refused  to  go  to  see  her. 
Then  another  "M"  entered  the  case — Mar- 
garet, a  sister  of  Mary  Margaret  said  Mary 
had  disappeared,  had  been  kidnapped  or 
something.  Mary  denied  it.  Mary  said  the 
trouble  was  that  Ma  and  Margaret  had  a  lot 
of  her  money  and  Ma  was  seeking  sympathy. 
Mrs.  O'Reilly— Mary  is  really  Juliet  O'Reilly, 
you  know — began  to  talk  of  dying.  Mary  was 
adamant,  and  demanded  an  accounting  from 
Ma.  Then  came  the  stories  of  Mary  being 
under  surveillance,  of  the  spies  and  all  the  rest 
of  it,  including  a  yarn  that  someone  had  taken 
a  shot  at  another  girl  who  was  living  in  Mary's 
former  home.  It  missed  her,  hitting  a  man 
who  was  with  her,  the  story  goes.  Anyway, 
Hollywood  is  all  "het  up"  over  it  and,  of 
course,  the  Taylor  case  was  dragged  in,  Mary 
having  been  mentioned  at  the  time  of  that 
investigation. 

JOSEPH  SCHILDKRAUT,  conceded,  after 
•J  his  one  venture,  to  be  the  handsomest  man 
in  the  pictures,  will — here's  a  surprise! — be 
Norma  Talmadge's  leading  man  in  her  picture 
of  South  African  life.  The  name  of  it  will  be 
"Dust  of  Desire."  And,  speaking  of  South 
Africa,  "Ponjola,"  Cynthia  Stockley's  story  of 
that  same  heated  country,  is  being  made, 
with  a  cast  including  James  Kirkwood,  Tully 
Marshal,  Joseph  Kilgour,  Anna  Q.  Nilsson  and 
Claire  Du  Brey. 

IT  took  ten  afternoons'  work  to  get  just  one 
hundred  feet  of  a  misty  twilight  scene  for 
Glenn  Hunter's  latest  Film  Guild  picture, 
"Grit."  Ten  afternoons  gone  forever  to  give 
just  one  minute  of  beauty  to  the  screen!  It 
was  necessary  to  catch  a  certain  atmospheric 
and  light  condition  that  lasts  for  just  a  few 
moments  each  day — and  so  a  fortnight  was 
shot  to  pieces. 

GEORGE  MARION,  who  created  the 
original  role  of  Chris  Christopherson  in  the 
prize  play,  "Anna  Christie,"  has  been  engaged 
to  play  the  same  part  in  the  picture,  and 
Blanche  Sweet  has  been  chosen  to  do  the  title 
part  that  Pauline  Lord  made  famous.  Inci- 
dentally, it  is  said  the  Eugene  O'Neill  received 
$100,000  for   the  screen  rights  of   the   play. 


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Photoplay  Magazine — Advertising  Section 

•"THE  preview  nights  at  "The  Writer.-"  in 
*■  Hollywood  are  becoming  increasingly  popu- 
lar. Big  new  film-  are  shown  there  for  the 
first  time  to  members  of  the  club  only.  The 
recent  showing  of  "Going  Up,"  the  new 
Douglas  MacLean  comedy,  nearly  brought 
down  the  roof.  A  very  select  and  celebrated 
audience  came  to  view  it,  including  Mr.  and 
Mrs.  William  de  Mille,  Mr.  and  Mrs.  Charles 
Brabin  (Theda  Bara),  Mabel  Xormand,  Mrs. 
Leslie  Carter,  Sir  Popham  Young,  Clara  Be- 
ranger,  Josephine  Quirk,  May  Allison,  Richard 
Dix,  Mr.  and  Mrs.  Charles  Ray  and  a  number 
of  prominent  writers. 

Theda  Bara  declared  as  she  went  out  that 
"we  don't  think  Mr.  Chaplin  ever  made  so 
funny  a  comedy,"  and  William  de  Mille  told 
his  party  during  the  film  that  he  considered  it 
the  best  comedy  he  had  seen  on  the  screen. 
Charles  Brabin  said:  "I  haven't  laughed  so 
much  since  the  old  Weber  and  Field  days." 
So  it  looks  as  though  Douglas  would  enliven 
the  coming  season  with  that  rarest  and  most 
delightful  of  screen  entertainments  —  a  dra- 
matic comedy. 

17'ENNETH  HARLAN,  who  is  playing  the 
■^■title  role  in  "The  Virginian,"  got  himself 
well  into  the  atmosphere  of  the  story  while 
working  on  location,  a  few  miles  out  of  Los 
Angeles.  Owen  Wister's  famous  character  was 
noted  for  being  "quick  on  the  draw"  and, 
while  trying  to  do  this,  Mr.  Harlan's  revolver 
caught  in  the  holster  and  exploded.  The 
bullet  made  a  long  tear  in  his  thigh  and  forced 
a  bit  of  his  overalls  into  his  leg.  Everbody 
sympathized  with  him  except  the  cameraman, 
who  informed  him  that  shooting  was  the 
cameraman's    job,    not    the    leading    man's. 

EDMUND  LOWE,  leading  man  in  "In  the 
Palace  of  the  King,"  has  discovered  a  new- 
use  for  scopolamin,  the  serum  which  makes 
people  tell  the  truth.  He  wants  this  serum 
injected  into  these  persons: — 

All  assistant  directors  when  they  agree  with 
the  chief. 

All  motion  picture  "yessers"  when  they 
have  given  too  many  affirmative  answers. 

All  actors  who  tell  the  director  they  .are  ill 
when  night  work  is  scheduled. 

All  visitors  who  tell  every  actor  they  think 
he  is  "the  greatest  hero  on  the  screen." 

All  publicity  men  when  they  say  "there's 
nothing  to  the  rumor." 

\TARION  DAVIES  says  that  she  likes  film 
■'•''■•-prize  fights  better  than  real  ones.  After 
witnessing  the  fight  in  "Little  Old  New  York," 
she  was  so  enthusiastic  about  the  sport  that 
she  accepted  an  invitation  to  go  to  the  Willard- 
Firpo  bout.  But  she  found,  to  her  horror,  that 
the  whacking  and  thumping  were  far  too 
realistic  to  be  pretty,  which  shows  that 
Marion  is  a  real  girl,  after  all! 

FOLLOWING  the  opening  of "  Scaramouche" 
in  New  York,  Rex  Ingram  plans  to  dash 
abroad  for  a  vacation  and  to  study  conditions 
in  Europe  with  an  eye  to  producing  pictures 
there.  He  expects  to  make  one  picture  with 
Ramon  Novarro  in  the  leading  role  before 
filming  "The  World's  Illusion,"  by  Wasser- 
man,  on  an  elaborate  scale.  Alice  Terry,  his 
wife,  will  probably  accompany  him  to  Europe, 
although  she  says  she  suspects  Rex  of  wanting 
to  park  her  with  his  family  in  Ireland  while  he 
does  gay  Paree  alone. 

MARILYNN  MILLER  has  sprained  her 
knee  and  has  had  to  postpone  the  opening 
of  her  play,  in  Washington,  because  she  is 
unable  to  dance.  And  it  all  happened  because 
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lessons — which,  when  one  considers  the  lyric 
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Photoplay  Magazine— Advertising  Section 


GLORIA  SWANSON  recently  had  the  ex- 
perience of  being  pictorially  disembodied  for 
one  whole  day.  While  making  "Zaza,"  the 
company  worked  all  day  on  action  which 
showed  the  star  looking  out  of  the  doorway  of 
her  dressing  room.  Only  her  head  and  shoulders 
showed,  and  all  the  "shots"  taken  that  day 
found  her  in  that  position. 

A  NEW  corporation,  called  Little  Theatre 
*VFilms,  Inc.,  has  been  organized  with  the 
intent  to  do  for  the  screen  what  the  Little 
Theatre  movement  has  done  for  the  stage.  It 
has  a  most  pretentious  advisory  board,  includ- 
ing Ralph  Block,  Hugo  Ballin,  Rupert  Hughes, 
Paul  Bern,  Charles  Chaplin,  Walter  Pritchard 
Eaton,  William  de  Mille,  D.  W.  Griffith. 
Douglas  Fairbanks,  Mary  Pickford,  Robert 
Sherwood,  Clayton  Hamilton,  Rex  Ingram, 
Ernst  Lubitsch,  Frank  Reicher,  June  Mathis, 
George  Marion,  Oswald  Garrison,  Rob  Wagner 
and  Kenneth  McGowan.  It  seems  as  if  an 
array  of  names  like  that  should  produce  some- 
thing very  much  worth  while. 

POLA  NEGRI  has  been  eclipsed.  Pola 
fainted  during  the  production  of  "Holly- 
wood," but  Mae  Busch  swoons  after  every 
close-up  in  "Master  of  Man." 

WHEN  Al  Jolson  broke  his  contract,  and 
ran  away  to  Paris,  he  thought — and  per- 
haps still  thinks— that  some  kind  providence 
was  guiding  him.  For  Al  is  fond  of  both  Irene 
Castle  and  her  husband,  Captain  Treman.  And 
he  felt  sure  that  he  had  arrived  upon  the  scene 
in  time  to  put  a  stop  to  their  marital  troubles. 

You  see,  it  all  happened  this  way.  Irene, 
dancing  in  Paris,  had  filed  divorce  papers.  And 
her  husband  had  rushed  over  from  America  to 
see  what  it  was  all  about.  But  he  didn't  find 
out,  and  he  wasn't  getting  anywhere,  at  all, 
until  Al — still  a  trifle  breathless  because  of  his 
hurried  exit  from  the  Griffith  studios — ap- 
peared upon  the  set.  And  insisted  upon  taking 
the  two  principals  out  to  luncheon  at  a  certain 
chummy  little  place  on  the  Rue  de  la  Paix. 

The  luncheon  started  out  to  be  a  frosty 
affair.  But  Al  Jolson  is  an  adept  at  making 
audiences— even  chilly  ones — feel  happy.  It 
wasn't  long  before  one  of  his  wise  cracks 
brought  a  chuckle  from  the  Captain.  And  it 
wasn't  much  longer  before  Irene  was  giggling. 
And,  with  both  of  them  in  a  receptive  frame 
of  mind,  it  was  quite  the  natural  thing  for  Al 
to  suggest  that  they  kiss  and  make  up.  Which 
they  apparently  did ! 

And  so  there  was  a  second  honeymoon  some- 
where along  the  Riviera,  and  the  suit  for  di- 
vorce wasn't  mentioned,  and  Al  was  just  begin- 
ning to  look  like  the  cat  that  swallowed  the 
canary,  when  the  1  remans  suddenly  up  and 
left — on  separate  steamers — for  America.  And 
since  then  the  papers  have  been  printing  the 
news  of  the  divorce  one  day,  and  denying  it  the 
next. 

And,  at  this  time  of  writing,  nobody,  not 
even  Al  Jolson,  knows  just  what  really  is  going 
to  happen.     Or  has  happened. 

•"THE  engagement  of  Gouverneur  Morris, 
*■  famous  author  whose  stories  have  been 
made  into  some  of  our  most  successful  screen 
plays,  to  Miss  Helen  Wightman  is  announced. 
Miss  Wightman  has  been  his  secretary  for 
some  years.  Mr.  Morris  was  recently  granted 
a  divorce  from  his  first  wife  on  the  grounds  of 
desertion. 

/-iLARENCE  JAY  ELMER,  casting  di- 
^-'rector  for  Cosmopolitan,  is  having  a  hard 
time  these  days.  He's  searching  all  over  for 
men  with  cauliflower  ears  to  play  in  the  new 
"Leather  Pusher"  story — called  "Cain  and 
Mabel" — in  which  Anita  Stewart  will  be 
starred.  A  good  many  ex-champion  prize 
fighters  are  coming  forward  to  make  a  bid  for 
the  honor  of  playing  in  the  same  picture  with 
Anita — and  turning  a  prize  fighter  down, 
gently,  when  he  wants-a  joty  is-  ticklish  work 
for  any  casting  director!  *  """  ' 


ITS  OFF 

because 
ITS  OUT 


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To  eliminate  a  growth  of  superfluous  hair  it  is 
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i  34 


Photoplay  Magazine — Advertising  Section 


The    York    Saxo- 
phone has  the  repu- 
tation   of    the    cele- 
brated House  of  York 
behind    it.    (You   can 
have    it  sent   to    your 
own    home  for  6  days 


Casts  of  Current  Photoplays 

[  CONTINUED  FROM  PAGE  119  ] 


!<*& 


a 


Tree 
trial 


1 

The 
Famous 

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Take  advantage  of  this  offer  now.  Have  this  superb 
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you  are  not  completely  satisfied  send  It  back  to  us 
and  it  won't  cost  you  a  penny. 

EASY  PAYMENTS  IF  YOU  BUY 

Our  easy  payment  plan  makes  it  easy  for  you  to 
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TAKE  YOUR  CHOICE  OF  THESE 

If  the  Saxophone  isn't  what  you  want,  choose  an- 
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J.  W.  YORK  &  SONS 

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MAIL    THIS    COUPON  —  NOWl 


"THE  FLYING  DUTCHMAN"— F.  B.  O. 

— Based  on  the  opera  by  Richard  Wagner' 
Adapted  by  Lloyd  Carleton.  Director,  Lloyd 
Carleton.  Photography  by  Andra  Barlatier. 
The  cast:  Philip  Vanderdecker,  Lawson  Butt; 
Melissa,  Lola  Luxford;  Zoc,  Ella  Hall;  Robert, 
Edward  Coxen;  Peter  Van  Dorn,  Walter  Law. 

"BLACK  SHADOWS"— Pathe— Produced 
by  Edward  G.  Salisbury.  The  cast:  Chief  Gau, 
the  head-hunter;  Chief  Kavi,  Chief  Popi,  The 
Medicine  Man,  Kakyo  Tonga,  Osopo,  the 
spearman;  warriors,  dancing  girls,  diving  girls, 
natives,  head-hunters,  chieftains. 

"THE  MIRACLE  BABY"— F.  B.  O.— 
Story  by  Frank  Pierce.  Adapted  by  Bernstein- 
Jaccard.  Director,  Val  Paul.  Photography  by 
William  Thornley.  The  cast:  Neil  Allison, 
Harry  Carey;  Judy  Stanton,  Margaret  Landis; 
"Hopeful"  Mason,  Charles  J.  L.  Mayne; 
Hal  Norton,  Edward  Hearn;  Violet,  Hedda 
Nova;  Jim  Starke,  Edmund  Cabt.  Dr.  Amos 
Stanton,  Alfred  Allen;  Sam  Brodford,  Bert 
Sprotte. 

"BROADWAY  GOLD"— Truart  Film 
Corp. — Adapted  by  Kathlyn  Harris.  Direc- 
tor, Edward  Dillon  and  J.  Gordon  Cooper. 
Photography  by  J.  R.  Diamond.  The  cast: 
Sunny  Duane,  Elaine  Hammerstein;  Jean 
Val  jean,  Kathlyn  Williams;  Eugene  Dttrant, 
Elliott  Dexter;  Elinor  Calhoun,  Elois  Goodale; 
Cornelius  Fellowes,  Richard  Wayne;  Page 
Poole,  Harold  Goodwin;  Jerome  Rogers,  Henry 
Barrows;  The  Driver,  Marshall  Neilan. 


J.  W.  York  &  Sons,  Dept.  2 16-J,  Grand  Rapids,  Mich 

Gentlemen:  Kindly  mail,  without  coat  to  mc.  your  beautifully  I 
illustrated  literature  and  details  of  your  Free  Trial  and  Easy  ■ 
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"THE  GREEN  GODDESS  "—Distinc- 
tive.— From  the  stage  play  by  William  Archer. 
Adapted  by  Forrest  Halsey.  Director,  Sidney 
Olcott.  Photography  by  Harry  A.  Fischbeck. 
The  cast:  The  Rajah  of  Rukh,  George  Arliss; 
Lite  ilia  C  res  pin,  Alice  Joyce;  Major  C  res  pin, 
Harry  T.  Morey;  Dr.  Basil  Trahcrnc,  David 
Powell;  The  Ayah,  Jetta  Goudal;  Watkins,  Ivan 
Simpson;  The  High  Priest,  William  Worth- 
ington. 

"MOTHERS-IN-LAW"  —  Preferred.— 
By  Frank  Dazey  and  Agnes  Christine  John- 
ston. Adapted  by  Olga  Printzlau.  Director, 
Louis  Gasnier.  The  cast:  Vianna  Courlleigh, 
Ruth  Clifford;  David  Wingatc,  Gaston  Glass; 
Ina  Phillips,  Vola  Vale;  Alden  Van  Bureu, 
Craufurd  Kent;  Newton  Wingate,  Josef  Swick- 
ard;  "Mom"  Wingate,  Edith  Yorke;  Tcssie 
Clarke,  Doris  Stone;  Lillian  Burke,  Marie 
Curtis. 

"LOST  IN  A  BIG  CITY"— Arrow  — 
Story  by  N.  S.  Woods.  Scenario  by  L.  Case 
Russell.  Director,  George  Irving.  Photog- 
raphy by  Joseph  Settle.  The  cast:  Harry 
Farley,  John  Lowell;  Florence,  his  niece,  Baby 
Ivy  Ward;  Helen,  his  sister,  Jane  Thomas; 
Sidney  Healon,  Charles  Beyer;  Blanche 
Maberly,  Evangeline  Russell;  Simeon  Maberly, 
her  father,  Charles  Mackay;  Dick  Watkins, 
James  Phillips;  Salvatori,  Edgar  Keller;  Guboni, 
his  nephew,  Whitney  Haley;  Trooper  Ned 
Livingston,  Edward  Phillips;  Mrs.  Leary, 
Anne  Brody;  "Raisin"  Jackson,  Charles  A. 
Robbins;  A  Hunchback,  Zeb  Darcy. 


Questions  and  Answers 

[  CONTINUED  from  page  91  ] 


D.  S.,  Dayton,  Ohio. — Roscoc  Arbuckle  has 
been  dancing  and  melting  his  excess  pounds  in 
midsummer  exercise  at  Marigold  Gardens,  in 
Chicago.  His  plans  are  "on  the  knees  of  the 
gods."  Meanwhile,  since  beginning  his  danc- 
ing engagement  at  the  Marigold  Gardens,  he 
has  not  heard  the  whine  of  the  wolf,  nor  have 
its  claws  scratched  its  initials  on  the  doors  of 
his  hotel  suite. 

Veronica  of  Canada. — Certainly  I  read 
your  letter.  Every  syllable  of  its  well-written 
pages.  Allow  me  to  congratulate  you.  The 
fashionable  hand  is  not  often  read  at  a  glance 
as  yours  is.  Kind  of  you  to  inform  me  as  to 
the  brownness  of  your  eyes  and  hair  and  the 
fairness  of  your  skin.  My  color  scheme  is 
otherwise.  You  honor  me  by  your  charming 
fancies.  But  my  mirror  does  not  reveal  an 
"interesting  person,"  certainly  not  to  me. 
Milton  Sills  is  a  busy  motion  picture  hero.  But 
if  you  were  to  tell  him  of  the  startling  resem- 
blance to  your  dear  friend  who  was  killed  in 
Flanders  Field  in  191 7,  I  am  sure  he  would 
write  you,  whether  he  knows  of  any  kinship  to 
him.  Milton  Sills  was  born  in  Chicago.  He 
was  educated  at  the  University  of  Chicago. 
A  stage  career  antedated  his  adoption  of  the 
screen.  For  eight  years  he  served  prominent 
managers  as  leading  man  of  their  companies — 
David  Belasco,  the  Shuberts,  William  A.  Brady 
and  Charles  Frohman.  His  screen  career  began 
under  the  Goldwyn  banner.  He  married  the 
English  actress.  Gladys  Wynne.  They  have 
two  children.  There  are  two  small  Sills,  or  if 
you  like,  Sillses.  His  address  is  care  Universal 
Film  Co.,  Universal  City,  Cal. 

Betty,  Newark,  Ohio. — The  beauty  con- 
test opened  in  the  July  issue.  Theda  Bara, 
called  "The  Queen  of  Vamps,"  retired  to 
matrimony,  but  the  retirement  is  not  to  be 
permanent,  according  to  rumor.  It  is  rumored 
that  she  will  return  to  the  screen  in  Elinor 
Glyn's  famous  love  story,  "Three  Weeks." 
Shirley  Mason's  eyes  are  gray. 


Constance  of  Freeport,  L.  I. — Your  aunt, 
who  spent  the  fag  end  of  the  winter  in  Miami, 
was  indeed  fortunate  to  have  snapshotted  and 
chatted  with  Bebe  Daniels,  Antonio  Moreno, 
Nita  Naldi,  Dorothy  Dalton,  Maurice  Cos- 
tello  and  David  Powell.  Found  them  very 
natural,  human  persons,  didn't  she?  Yes,  it  is 
usual  to  send  25  cents  to  cover  the  expense  of 
the  photographs  requested.  Bebe  Daniels' 
photographs  can  be  procured  by  addressing 
her,  care  Paramount  Studio,  Long  Island  City, 
N.  Y.  Norma  Talmadge  and  Rodolph  Valen- 
tino are  both  gracious  in  the  matter  of  dis- 
tributing their  photographs  to  those  who  write 
as  prettily  as  do  you,  Miss  Connie. 

Eloise,  Lexington,  Ky. — You  had  a  vast 
company  in  mourning  for  Wallace  Reid.  Yes, 
Mrs.  Reid's  name  was  Dorothy  Davenport.  If 
you  address  her,  care  Thomas  H.  Ince  Studio, 
Culver  City,  Cal.,  she  may  arrange  to  send  you 
a  photograph  of  the  lovable  star  who  met  so 
tragic  an  end.  "How  tall  and  how  old  is  Ed- 
ward Burns?"  Is  that  a  woman's  gauge  of  a 
man?  I  "just  wanted  to  know."  His  age  is 
thirty-one  years.  His  height  is  five  feet, 
eleven  and  a  half  inches.  It  would  be  only 
slight  exaggeration  to  call  him  a  six-footer.  He 
is  married.  Billie  Burke  is  not  on  either  the 
stage  or  screen  at  present.  She  told  me  that 
she  is  considering  an  offer  to  go  to  England  to 
do  a  picture.  There  are  two  plays  which  she 
intended  to  give  trials  this  past  summer. 

E.  E.  S.,  Cleveland,  Ohio. — Loyal  ad- 
mirer of  Marguerite  Clark,  have  no  solicitude 
for  her  welfare.  She  married  a  rich  and  hand- 
some officer  in  1918.  She  is  living  in  the  South, 
I  believe  in  New  Orleans,  in  content  and 
luxury.  There  is  no  present  indication  that  she 
will  return  to  the  screen.  Your  loyalty  to 
Dorothy  Dalton  merits  this  sheaf  of  informa- 
tion. Miss  Dalton  may  be  seen  in  the  recently 
completed  "Fog  Bound,"  with  Martha  Mans- 
field, Maurice  Costello,  David  Powell  and 
others. 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


Katherine,  Evansville,  Ind. — Katherine 
of  the,  I  am  sure,  ill-fitting  surname,  Mudd, 
your  desire  for  information  about  him  whom 
you  designate  truthfully  as  a  "tine  and  accom- 
plished actor"  is  cheerfully  furnished.  Lewis 
Stone  is  much  admired  by  members  of  his  own 
profession.  A  rare  and  significant  fact.  He 
was  born  in  Worcester,  1879.  He  has  been 
a  soldier,  cowpuncher,  a  big  game  hunter,  a 
sailor  and  an  actor.  He  was  a  sergeant  of  the 
Twelfth  Infantry  of  New  York  in  the  Spanish 
war  and  captain  at  the  officers'  training  camp 
at  Plattsburg,  N.  Y.,  in  1017.  By  much  travel 
and  military  service  he  is  equipped  to  represent 
the  types  of  many  climes.  His  first  wife,  who 
has  been  Miss  Margaret  Langham,  died  sud- 
denly while  he  was  in  training  camp  at  Platts 
burg.  Miss  Florence  Oakley  became  the 
present  Mrs.  Stone. 

J.  H.,  Brooklyn,  N.  Y. — Rodolph  Valen- 
tino will  not  appear  in  pictures  before  1924, 
judging  from  reports.  He  has  no  relatives  in 
New  York  save  that  charming  young  woman 
who  is  closely  related  to  him  by  marriage,  his 
wife.  In  the  February,  March  and  April  num- 
bers of  Photoplay  Magazine  appeared  the 
story  of  his  life. 

L.  C,  Mount  Olive,  N.  C. — The  life  story 
in  outline  of  the  girl  whom  you  designate  as 
"The  Perfect  Flapper"  follows:  Pauline 
Garon  was  born  in  Montreal,  Canada,  Septem- 
ber 9,  1903.  She  was  educated  at  Sacred  Heart 
Convent,  Montreal.  She  is  a  petite  beauty, 
her  height  being  five  feet  one  inch  and  her 
weight  one  hundred  pounds.  Her  eyes  are 
hazel,  her  hair  blonde.  She  had  a  brief  stage 
career.  Her  photoplay  appearances  have  been 
in  "Sonny,"  "Reported  Missing,"  "The  Man 
from  Glengarry,"  "Adam's  Rib"  and  "You 
Can't  Fool  Your  Wife." 

Bambino,  St.  Louis,  Mo. — You  are  par- 
doned for  boasting  of  a  response  to  your  letter 
to  Rodolph  Valentino.  I  have  not  the  slightest 
doubt  that  he  saw  the  letter  and  that  he  wrote 
or  dictated  the  reply,  the  conclusion  of  which 
gratifies  you. 

J.  L.,  Morrison,  III. — If  you  are  a  boy  of 
thirteen  you  are  my  youngest  correspondent, 
J.  L.  All  of  the  thundering-footed  horses  in 
"Ben  Hur"  won't  drag  your  real  name  from 
me.  Are  you  afraid  of  the  "to  bed  without 
supper"  sentence?  This  is  the  cast  for  which 
you  ask:  "Timothy's  Quest,"  American  Releas- 
ing; directed  by  Sidney  Olcott;  story  by  Kate 
Douglas  Wiggin;  scenario  by  Katherine  Stuart ; 
photographed  by  Al  Liguorie  and  Gene  French. 
Timothy,  Master  Joseph  Depew;  Lady  Gay, 
Baby  Helen  Rowland;  Miss  Avilda  Cummins, 
Marie  Day;  Samanlha  Ann  Ripley,  Margaret 
Seddon;  Jabe  Slocum,  Bertram  Marburgh; 
Hilly  Tarbox,  Vivia  Ogden;  Miss  Dora,  Gladys 
Leslie;  Dave  Milliken,  Wm.  F.  Haddock. 

Interested,  San  Francisco. — Howard  M. 
Mitchell  is  a  neighbor  of  yours  as  the  mag- 
nificent spaces  of  the  West  go.  He  is  a  director 
of  the  Fox  Film  Studio.  The  address  is  1401 
N.  Western  Ave.,  Los  Angeles,  California. 

Jeanne  H,  St.  Louis. — A  kind  heart  and  a 
discerning  eye  are  yours,  Miss  Jeanne.  Your 
characterizations  are  just.  Johnny  Walker  is 
"so  darned  human  that  he  is  irresistible,"  and 
Lawrence  Wheat  has  a  "winsomely  humorous 
grin."  That  grin  has  expanded  into  greater 
width  since  he  played  college  boys  and  juvenile 
lovers  on  the  Broadway  stage.  I  do  not  know 
whether  his  figure  has  expanded  from  its  wand- 
like elegance  of  a  few  brief  years  agone. 
Johnny  Walker  is  married.  Gaston  Glass  is 
not.  I  am  uncertain  about  Lawrence  Wheat. 
Mr.  Wheat's  address  is  Paramount  Studios, 
Long  Island  City,  N.  Y.  Gaston  Glass'  mail 
will  reach  him  by  way  of  Preferred  Pictures, 
3800  Mission  Road,  Los  Angeles,  Calif. 
Johnny  Walker's,  through  the  Arthur  H.  Jacobs 
Productions.  United  Studios,  Hollywood. 
Calif. 


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Photoplay  Magazine — Advertising  Section 


CHIROPRACTIC 

and  Smallpox 


By  JAMES  G.  GREGGERSON 

National  Lecturer  for  the  Universal  Chiropractors'  Association 


ALL    RIGHTS    RESERVED 


TWENTY  years  ago  compulsory 
vaccination  was  taken  for  granted, 
but  in  recent  years  the  movement 
to  abolish  it  has  gone  by  leaps 
and  bounds  in  every  state  in  the  Union. 
England,  after  testing  the  vaccination 
theory  for  more  than  a  century,  entirely 
abandoned  it.  Dr.  Walter  Hadwen,  M.  D., 
M.  R.  C.  S.,  of  Gloucester,  England,  speak- 
ing on  this  question  at  a  public  meeting 
in  Los  Angeles,  Calif.,  June  16,  1922,  said: 

"Now,  my  friends,  the  whole  of  this  wretched 
vaccination  and  inoculation  system  is  based 
upon  superstition!  Thank  God,  we  have  carried 
a  law  in  my  country  that  no  one  need  be  vaccinated, 
and  75  per  cent  of  the  children  born  in  the  United 
Kingdom  remain  unvaccinated.  We  never  had  so 
little  smallpox  in  all  our  history.  It  is  practically 
non-existent." 

This  vaccination  idea  was  tested  in  Kan- 
sas City,  Missouri,  during  1921,  and  here  are 
the  facts  as  published  by  the  Advertisers' 
Protective  Bureau  of  the  Kansas  City  Ad- 
vertising Club,  George  M.  Husser,  Sec'y. 
801  Graphic  Arts  Bldg.,  Kansas  City, 
Missouri: 

"It  is  the  policy  of  this  bureau  to  deal  only  in  facts. 
This  policy  underlies  the  bureau's  work  as  a  quasi- 
public  institution  in  its  mission  of  suppressing  for  the 
benefit  of  the  public  fraudulent  and  misleading 
advertising  or  publicity.     .     .     . 

"The  facts  seem  to  be  that  health  conditions  just 
before  the  'epidemic'  were  favorable,  from  the  less 
than  50  per  cent  hospital  attendance,  the  small  list 
of  contagious  cases  on  record  at  the  health  office  (see 
list)  and  the  fact  that  E.  H.  Bullock,  health  officer, 
felt  the  time  opportune  to  take  his  annual  vacation. 
We  learned  also  that  medical  practitioners  had  fewer 
cases,  and  were  not  overrun  with  calls.     .     .     . 

"The  sudden  calling  of  the  epidemic  and  the 
attendant  publicity  changed  all  this.  Every  medical 
practitioner  in  the  city  found  his  hands  full  with 
vaccinating  patients,  both  at  the  office  and  in  the 
homes.  Unofficial  estimates  place  the  number  of 
paid  vaccinations  (as  distinguished  from  free  vac- 
cinations of  school  children  and  at  health  centers) 
at  200,000,  for  which  it  is  alleged  fees  ranging  from 
25  cents  up  to  $5  each  were  charged.  An  estimated 
average  fee  of  $2.50  would  yield  an  aggregate  of  one- 
half  million  dollars  expended  by  the  public  of  Kansas 
City  during  this  period  for  vaccination  alone.  Be- 
sides the  vaccination  expenditure  many  people  suf- 
fered from  the  after-effects  of  vaccination,  some  of 
them  severely.  For  these,  medical  attention  was 
required,  in  some  instances  over  a  period  of  months, 
with  added  expenditure.  Besides,  there  were  num- 
bers who,  from  reading  of  the  epidemic,  imagined 
they  had  the  symptoms  of  smallpox  and  desired 
medical  advice,  which  added  to  the  cost.  This  phase 
need  not  be  entered  into  at  length,  the  above  outline 
being,  we  believe,  sufficient  to  emphasize  our  point." 

The  vaccination  theory  was  also  put  to 
the  test  in  the  Philippine  Islands  for  seven- 
teen years,  with  the  following  results  as 
given  by  the  Masonic  Observer  of  Minne- 


apolis, Minn.,  issues  of  Dec.  17th,  1921,  and 
of  Jan.  14th,  1922. 

"Sixty  thousand,  six  hundred  and  twelve  cases  of 
smallpox,  and  43,294  deaths  from  smallpox  in  the 
Philippines  in  1919.     .     .     . 

"We  were  unable  to  secure  a  1919  report  of  the 
Philippine  health  service,  and  this  is  not  surprising 
in  view  of  a  discovery  made  in  the  report  of  that 
organization  for  1920,  tucked  away  in  one  small 
paragraph  on  page  24  of  the  report,  which  discloses 
that  the  smallpox  epidemic  of  1918  continued  during 
1919  with  a  total  of  60,612  additional  cases  and 
43,294  deaths  for  1919.     .     .     . 

"The  Philippines  have  experienced  three  smallpox 
epidemics  since  the  U.  S.  first  took  over  the  islands, 
the  first  in  1905-1906,  the  second  in  1907-1908,  and 
the  third,  and  worst  of  all,  the  recent  epidemic  of 
1918-1919.  Before  1905  (with  no  systematic  general 
vaccination)  the  case  mortality  was  about  10  per 
cent.  In  the  1905-1906  epidemic,  with  vaccination 
well  started,  the  case  mortality  increased  to  over  16 
per  cent.  In  the  epidemic  of  1907-1908,  with  general 
systematic  vaccination  going  strong,  the  case  mor- 
tality ranged  from  25  to  50  per  cent  in  different  parts 
of  the  islands.  During  the  epidemic  of  1918-1919, 
with  the  Philippine  Islands,  supposedly,  almost 
universally  immunized  against  smallpox  by  vaccina- 
tion, the  case  mortality  averaged  over  65  per  cent. 
These  figures  can  be  verified  by  reference  to  the 
report  of  the  Philippine  health  service  for  1919,  see 
page  78.  These  figures  are  accompanied  by  the 
statement  that  the  'MORTALITY  IS  HARDLY 
EXPLAINABLE.'  To  anyone  but  a  Philippine 
medical  health  commissioner  it  is  p'ainly  the  result  of 
vaccination." 

Not  only  has  smallpox  become  more 
deadly  in  the  Philippines,  but  in  addition, 

"The  statistics  of  the  Philippine  health  service  show 
that  there  has  been  a  steady  increase  in  recent  years 
in  the  number  of  preventable  diseases,  especially 
typhoid,  malaria  and  tuberculosis." 

(Quoted  from  the  1921  Report  of  the 
special  mission  on  investigation  to  the 
Philippine  Islands,  of  which  commission 
General  Leonard  Wood  was  the  head.) 

Just  as  a  sort  of  condiment  to  this  mass 
of  facts,  let  us  quote  from  Physical  Culture 
of  June,  1922.  It  places  the  facts  very 
briefly  as  follows: 

"IS  THERE  METHOD  IN  VACCINATION 
MADNESS? 

"Most  vaccinated  country,  Philippine  Islands, 
population  10,350,640,  smallpox  deaths,  1919,  44,408. 
Least  vaccinated  country,  England  and  Wales,  popu- 
lation 37,885,242,  smallpox  deaths,  1919,  28." 

These  facts  admit  of  no  contradiction. 
Kansas  City  can  be  reached  with  a  one-cent 
postal  card,  the  report  of  the  surgeon 
general  of  the  Philippines  is  public  property, 
and  the  authorities  from  which  Physical 
Culture  quotes  are  accessible  to  everyone. 
It  is  an  established  fact  that  the  public 


has  been  victimized  for  over  a  hundred 
years  by  those  whose  science  consisted  of 
getting  the  cash  by  frightening  the  people 
with  repulsive  pictures.  The  injection  into 
your  body  of  the  rotten  tissue  from  the  sores 
of  a  cow  with  cowpox  to  prevent  smallpox, 
was  a  superstition  when  performed  by  those 
who  knew  no  better.  Its  continuance  with 
the  facts  established  is  a  crime  against 
humanity. 

Chiropractic  teaches  that  smallpox  is  the 
result  of  poisons  accumulating  in  the  body 
because  the  organs  of  elimination  are  not 
functioning  properly.  The  poisons  that 
ordinarily  pass  out  through  the  kidneys, 
bowels,  etc.,  are  retained  in  the  body  and 
the  "power  within,"  that  throws  these 
poisons  out,  starts  to  expel  them  through 
the  pores  of  the  skin.  These  pores  being 
closed  permit  the  poisons  to  accumulate 
until  they  produce  the  eruption  peculiar  to 
smallpox. 

We  teach  that  the  reason  the  bowels  and 
kidneys  do  not  work  right,  is  because  the 
functional  impulse  does  not  reach  these 
organs,  due  to  the  fact  that  a  vertebra  in 
the  spine  is  misaligned,  thereby  impinging 
the  nerve  and  interrupting  the  normal  flow 
of  these  functional  impulses  to  bowels, 
kidneys,  etc. 

This  adjustment  of  the  vertebrae  is  the 
chiropractor's  work,  and  this  practice  of 
ascertaining  which  vertebrae  are  misaligned 
by  palpation,  and  adjusting  them  to  normal 
alignment  by  hand,  is  all  the  chiropractor 
does.  It  is  upon  this  simple  practice  of  the 
palpation  and  adjustment  of  the  vertebrae 
of  the  spinal  column  with  the  hands  for  the 
purpose  of  releasing  the  prisoned  impulse, 
that  Chiropractic  has  made  the  most  aston- 
ishing growth  of  any  profession  in  the 
history  of  the  world. 

Of  course,  Chiropractic  is  not  the  prac- 
tice of  medicine,  and  of  course  the  real 
chiropractor  is  but  a  demonstrator  of  an 
idea.  He  is  not 
a  jack  of  all 
trades.  Those 
who  do  other 
things  beside 
palpating  and 
adjusting  the 
spine,  in  the  name 
of  Chiropractic, 
simply  adopt  the 
name  chiropractor 
for  business  rea- 
sons. The  denser 
the  ignorance  of 

these  gentlemen,  the  more  contraptions  they 
use  to  conceal  their  ignorance.  Those  who 
wish  to  try  Chiropractic  should  see  that 
they  secure  a  competent  practitioner,  and 
the  service  of  directing  you  to  the  office  of  a 
competent  practitioner  will  be  performed  by 


UNIVERSAL  CHIROPRACTORS'  ASSOCIATION,  of  Davenport,  Iowa 


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6  X  9  ft.$  9.00  The  patterns  illustrated  are 
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9  X  9  ft.  13.50  only.  The  smaller  rugs  are 
9  X  10  2  ft.  15.75  made  in  other  designs  to  har- 
9     xl2     ft.    18.00        monize  with  them. 

Owing  to  freight  rates,  prices  in  the  South  and  west  of  the 
Mississippi  are  higher  than  those  quoted. 


Hx3  ft.  $  .60 
3  x3  ft.  1.40 
3  x4ift.  1.95 
3    x6    ft.    2.50 


Congoleum  Company 


INCORPORATED 

Philadelphia         New  York  Boston  Chicago  San  Francisco 

Kansas  City  Minneapolis  Atlanta  Dallas  Pittsburgh 

Montreal  London  Paris  Rio  de  Janeiro 


Gold  Seal 


(Sngoleum 


^4rt-Rugs 


Pattern 
No.  51 8 


o 


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Mrs.  Ethel  Styles  Middleton 

Pittsburgh  Housewife iiho  ivrotc 
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Every  advertisement  in  ruOTOr-LAY  MAGAZINE  is  guaranteed. 


The  World's  Leading  Motion  Picture  Publication 


PHOTOPLAY  MAGAZINE 


FRANK  T.  POPE 
MANAGING   EDITOR 


JAMES  R.  QUIRK,  Editor 


ADELA  ROGERS  ST.  JOHNS 
WESTERN  EDITOR 


Vol.  XXIV 


No.  6 


Contents 

November,  1923 


Cover  Design 


From  a  Pastel  Portrait  by  J.  Knowles  Hare 


Brickbats  and  Bouquets 

Letters  from  Readers 


May  Allison 


10 


Carolyn  Van  Wyck     12 


Friendly  Advice 

The  Department  of  Personal  Service 

Brief  Reviews  of  Current  Pictures 
In  Tabloid  Form  for  Ready  Reference 

Rotogravure: 

New  Pictures:  Mary  Eaton,  May  McAvoy,  Colleen 
Moore,  the  Dolly  Sisters,  Netta  Wescott,  Enid 
Bennett,  Louise  Fazenda 


Speaking  of  Pictures  (Editorials) 
The  Loves  of  Pola  Negri 

There  Is  a  Heartache  in  Every  One  of  Them 


James  R.  Quirk 
Herbert  Howe 


16 
27 

35 
36 

39 

40 

42 


Her  Daddy  Calls  Her  "Shrimp" 

Even  Though  Peggy  Montgomery  Has  Entered  Stardom's  Portals 

The  Spirit  of  the  Motion  Picture      Margaret  E.  Sangster 

An  Appreciation  in  Verse  of  the  Youngest  of  the  Arts 

Illustrated  by  William  L.  Dodge 

Some  Good  Titles  at  Last  (Photographs) 

Film  Actors  Whose  Patents  of  Nobility  Are  Genuine 

(Contents  continued  on  next  page) 


Published  monthly  by  the  Photoplay  Publishing  Co. 

Publishing  Office,  750  N.  Michigan  Ave.,  Chicago,  111. 
Editorial  Offices,  221  W.  57th  St.,  New  York  City 

The  International  News  Company,  Ltd.,  Distributing  Agents,  5  Bream's  Building,  London.  England 

Edwin  M.  Colvin,  Pres.  James  R.  Quirk,  Vice-Pres.  R.  M.  Eastman,  Sec.-Treas. 

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Entered  as  second-class  matter  April  24.  1912.  at  the  Postoffice  at  Chicago.  III.,  under  the  Act  of  March  3,  1879. 


Photoplays  Reviewed 

in  the  Shadow  Stage 

This  Issue 


Save  this  magazine  —  refer  to 
the  criticisms  before  you  pick  out 
your  evening's  entertainment. 
Make  this  your  reference  list. 


Page  74 

The  Hunchback  of  Notre  Dame.      Universal 

Rosita United  Artists 

The  White  Sister Inspiration  Pictures 

Page  75 

If  Winter  Comes Fox 

Six  Days Goldwyn 

Potash  and  Perlinutter First  National 

Page  76 

Why  Worry? Pa  the 

Ruggles  of  Red  Gap Paramount 

The  Cheat Paramount 

Where  the  North  Begins        Warner  Brothers 

Strangers  of  the  Night Metro 

The  Silent  Command Fox 

Page  78 

Rouged  Lips Metro 

Puritan  Passions Hodkinson 

Drifting Universal 

To  the  Last  Man Paramount 

Dulcy First  National 

The  Gold  Diggers Warner  Brothers 

Page  100 

The  Eternal  Struggle ....'.  Metro 

Second  Hand  Love Fox 

The  Six-Fifty Universal 

April  Showers Preferred  Pictures 

Red  Lights Goldwyn 

Where  Is  the  West? Universal 

The  Gun  Fighter Fox 

The  Lone  Star  Ranger Fox 

Page  101 

The  Eagle's  Feather Metro 

The  French  Doll Metro 

Salomy  Jane Paramount 

Bill Paramount 

The  Power  Divine Independent 

The  Social  Code Metro 

The  Fair  Cheat F.  B.  O. 

Page  102 

The  Clean-Up Universal 

Desire Metro 

The  Grail Fox 

The  Destroying  Angel. Associated  Exhibitors 

Shattered    Reputations Lee    Bradford 

Running  Wild Educational 

Tea  With  a  Kick Associated  Exhibitors 

Does  It  Pay? Fox 

The  Untamable Universal 

The  Midnight  Alarm Vitagraph 

A  Chapter  in  Her  Life Universal 

Davtime  Wives F.  B.  O. 

The  Silent  Partner Paramount 

Blinkv Universal 

Three  Ages Metro 

Page  103 

A  Knock  at  the  Door Johnnie  Walker 

His  Last  Race Phil  Goldstonc 

Tin-    Fighting  Strain Sterner 

The  Secrets  of  Life Principal   Pictures 


Copyright,  1923,  by  the  Photoplay  Publishing  Company.  Chicago. 


Contents  —  Continued 

"Let  There  Be  Light"  44 

Without  the  Kleigs  There  Can  Be  No  Motion  Picture  Art 

The  Life  Tragedy  of  a  Sennett  Beauty         Herbert  Howe    46 
It's  Not  His  Eyes  That  Wreigh  Down  Ben  Turpin's  Heart 

What  Makes  Them  Stars?  "Lure!"  Says  Fred  Niblo  48 

The  Famous  Director  Reveals  the  Secret  of  Screen  Success 

A  De  Mille  "Paradise"  (Photographs)  50 

A  Picturesque  Retreat  Only  Twenty  Miles  from  Hollywood 

M.  Charles  De  Roche  Adela  Rogers  St.  Johns    51 

The  Life  Story  of  a  Coming  Favorite  of  the  Screen 

Betty  and  Jobyna  Adela  Rogers  St.  Johns    52 

WThat  Are  the  Misses  Compson  and  Ralston  Really  Like? 

Photoplay's  Hollywood  Astronomers  54 

"Our  Herb"  Adela  Rogers  St.  Johns 

"Our  Adela"  Herbert  Howe 

Analytical  Sketches  of  Our  Western  Representatives 

Close-Ups  and  Long  Shots  Herbert  Howe     55 

Comment  on  the  Activities  of  Screen  Personalities 

Who  and  What  Is  Hope  Hampton?  Bland  Johaneson    56 

Baffling,  but  Unanswered,  Questions 

Not  in  the  Scenario  (Fiction)  58 

The  First  Installment  of  a  Great  Story 

Illustrated  by  R.  Van  Buren 

My  Screen  Lovers  Barbara  La  Marr    63 

Not  a  Triangle.    Worse!    A  Pentangle! 

The  Romantic  History  of  the  Motion  Picture 

Terry  Ramsaye     64 
Chapter  XX :    The  Great  Story  of  Color  on  the  Screen 

Rotogravure:  67 

Mabel  Normand,  George  Walsh,  Percy  Marmont, 
John  Gilbert,  George  Hackathorne,  Ann  Pennington, 
Dorothy  Mackaill 

"Be   Yourself"    (Fiction)  Roy  Milton  Ilifr    71 

The  Story  of  a  Girl  Who  Wanted  to  Win  Success  in  Her  Own  Way 

Illustrated  by  R.  Van  Buren 

The  Shadow  Stage  74 

The  Department  of  Practical  Screen  Criticism 

The  Girl  on  the  Cover  Mary  Winship        80 

The  New  May  Allison 

Gossip — East  and  West  Cal  York    82 

Intimate  Glimpses  of  the  Film  Folk 

Twentieth  Century  Meets  the  Fifteenth  (Photograph)  86 

A  Striking  Event  During  the  Filming  of  Marion  Davies'  New 
Picture  "Yolanda" 

Questions  and  Answers  89 

Casts  of  Current  Photoplays  108 

Complete  for  Every  Picture  Reviewed  in  This  Issue 

Why  Do  They  Do  It?  122 

Screen  "Breaks"  Reported  by  Readers  of  Photoplay 

Addresses  of  the  leading  motion  picture  studios 
will  be  found  on  page  20 


What's  Going 

to 'Happen  to 

Jackie  Coogan? 

The  future  of  this  infant  phe- 
nomenon, this  child  of  eight  years 
whose  income  is  reputed  to  be 
$500,000  a  year,  is  arousing  much 
speculation.  Some  extremely  in- 
teresting opinions  as  to  what  will 
become  of  him  have  been  con- 
tributed by  his  father,  by  Mary 
Pickford,  Douglas  Fairbanks, 
Charles  Chaplin,  Rex  Ingram  and 
Jackie  himself.  A  feature  that 
will  interest  every  patron  of 
motion  pictures. 

What  Makes 
Them  Act? 

Rex  Ingram,  who  brought  Ro- 
dolph  Valentino  into  the  spot- 
light of  fame,  who  made  Alice 
Terry  a  star,  and  who  has  made 
a  finished  artist  of  Ramon 
Novarro,  will  tell  in  the  Decem- 
ber Photoplay  how  he  did  it. 
He  will  give  his  method  of  train- 
ing inexperienced  actors  and  ac- 
tresses to  get  the  marvelous 
results  he  has  achieved. 

Home  Decoration 

Hints 

from  Pictures 

Also  in  the  December  issue 
Photoplay  will  begin  a  series  of 
practical  articles  on  home  furnish- 
ing and  decoration,  as  suggested 
by  motion  pictures,'  written  by 
William  J.  Moll,  a  recognized 
authority  on  this  subject.  He 
will  tell  what  can  be  done  to 
beautify  the  home,  effectively 
and  inexpensively. 

How  to  Write 
for  the  Screen 

John  Lynch,  one  of  the  fore- 
most writers  for  the  screen  in  this 
country,  has  arranged  with  Pho- 
toplay to  answer  in  its  pages  all 
questions  pertaining  to  screen 
writing.  Mr.  Lynch  has  spent 
years  in  adapting  novels  and 
writing  originals,  and  is  eminent- 
ly qualified  to  advise  ambitious 
writers. 

All  these  features  and 
many  others  of  in- 
terest   will    appear    in 

December 

Photoplay 

Out  November  15 


Photoplay  Magazine — Advertising  Section 


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When  you  write  lo 


.lv.  it  ]-•  i     nil 


mention  riio'rorr.AY  m.icazink. 


Photoplay  Magazine — Advertising  Section 


JUST  as  there  is  always  something  new  and 
thrilling  to  learn  about  life,  if  you  know  how, 
so  there  is  always  something  new  and  thrilling 
to  see  in  motion  pictures,  if  you  know  where. 

All  life  is  Paramount's  hunting  ground  for  the 
material  for  the  world's  greatest  entertainment, 
and  all  the  rewards  and  trophies  of  the  search 
are  present  at  the  theatre  which  proclaims: 

"It's  a  Paramount  Picture."' 

For  Paramount  to  make  the  season's  pictures 
of  a  new  and  startling  bigness  is  but  to  be  ex- 
pected, but  the  films  themselves  contain  the 
unexpected,  the  marvelous,  to  a  refreshing  degree. 

TO  BE  SHOWN  AFTER  NOVEMBER    1st,   1923 

"HIS  CHILDREN'S  CHILDREN" 

A  Sam  Wood  production,  with  Bebe  Daniels,  Dorothy  Mackaill,  James 
Rennie.  George  Fawcett,  Mary  Eaton,  Warner  Oland,  Hale  Hamilton 
and  others.  Adapted  by  Monte  Katterjohn  from  the  famous  novel  by 
Arthur  Train. 

"THE  LIGHT  THAT  FAILED" 
By  Rudyard  Kipling.     A  George  Melford  production,  with  Jacqueline 
Logan,  Percy  Marmont,  Sigrid  Holmquist  and  David  Torrence.       Sce- 
nario by  F.  McGrew  Willis  and  Jack  Cunningham 

"THE  SPANISH  DANCER" 

Starring  POLA  NEGRI.  A  Herbert  Brcnon  production,  with  Antonio 
Moreno,  supported  by  Wallace  Beery,  Kathlyn  Williams,  Gareth 
Hughes,  Adolphe  Menjou  and  Robert  Agnew.  Written  for  the  screen 
by  June  Mathis  and  Beulah  Marie  Dix,  from  the  play  "Don  Cesar 
deBazan,"  by  Adolphe  D'Ennery  and  P.  S.  P.  Dumanoir. 

"STEPHEN  STEPS  OUT" 

Starring  DOUGLAS  FAIRBANKS,  JR.,  with  Theodore  Roberts,  sup- 
ported by  Noah  Beery,  Harry  Myers,  Forrest  Robinson.  Directed  by 
Joseph  Henabery.  From  the  story  by  Richard  Harding  Davis.  Scenario 
by  Edfrid  Bingham.    Presented  by  William  Elliott  and  Jesse  L.  Lasky. 

"THE  CALL  OF  THE  CANYON" 

A  Zane  Grey  production,  with  Richard  Dix,  Lois  Wilson  and  Estel 
Taylor.    Supported  by  Noah  Beery,  Ricardo  Cortez  and  Charles  Ogle. 
Adapted  by  Doris  Schroeder  and  Edfrid  Bingham.     Directed  by  Victor 
Fleming. 


TSfcTT 


•_ — ^ — _ — 4,^- 

/"  Jlofucj  VUem Jfct/noldsl  \   hi 


Mines  Jiauue 


If     it's     a      Paramount     Picture 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


^aft 


STARS 
VIRECTORS 
and 

Supporting 
Casts 


*f 


r~ 


Continued  from  left  hand  page 


izJamcs  Crujt 


lOllanfiu 


"SPEEJACKS" 


A  motion  picture  record  of  A.  Y.  Gowen's  famous 
voyage  around  the  world  in  a  98-foot  motor  boat. 

"WEST  OF  THE  WATER  TOWER" 

Starring  GLENN  HUNTER,  with  Ernest  Torrence 
and  May  McAvoy.  Supported  by  George  Fawcett 
and  Zasu  Pitts.  Directed  by  Rollin  Sturgeon. 
Adapted  by  Doris  Schroeder  from  the  novel  by 
Homer  Croy. 

"WILD  BILL  HICKOK" 

Starring  WILLIAM  S.  HART  (in  an  original  story 
by  himself),  supported  by  Ethel  Grey  Terry  and 
featuring  Bill  Hart's  Pinto  Pony.  Screen  play  by 
J.  G.  Hawks.    A  Wm.  S.  Hart  production. 

"BIG  BROTHER" 

By  Rex  Beach.  An  Allan  Dwan  production,  with 
Tom  Moore  and  a  distinctive  cast.  Adapted  for  the 
screen  by  Paul  Sloan. 

"FLAMING  BARRIERS" 

A  George  Mel  ford  production,  with  Jacqueline 
Logan,  Antonio  Moreno,  Charles  Ogle,  Walter 
Hiers.  By  Byron  Morgan.  Adapted  by  Jack  Cun- 
ningham. 

"THE  HUMMING  BIRD" 
Starring  GLORIA  SWANSON.     A  Sidney  Olcott 
production.      From   the   play   by    Maude   Fulton. 
Screen  play  by  Forrest  Halsey. 

"TO  THE  LADIES" 

A  James  Cruze  production  of  the  play  by  George 
Kaufman  and  Marc  Connelly.  With  Edward 
Horton  and  a  great  comedy  cast. 

"EVERY  DAY  LOVE" 

A  William  de  Mille  production,  with  Agnes  Ayres, 
Jack  Holt  and  Nita  Naldi.  Supported  by  Theodore 
Kosloff,  Robert  Edeson  and  Rod  La  Rocque.  From 
the  novel  "Rita  Coventry,"  by  Julian  Street. 
Screen  play  by  Clara  Beranger. 

"THE  HERITAGE  OF  THE  DESERT" 

A  Zane  Grey  production,  with  Bebe  Daniels,  Ernest 
Torrence  and  Noah  Beery.  Directed  by  Irvin 
Willat.    Adapted  by  Albert  Le  Vino. 

"PIED  PIPER  MALONE" 

Starring  THOMAS  MEIGHAN.     Supported  by 

Lois  Wilson  and  a  big  cast.     By  Booth  Tarkington. 

Directed  by  Alfred  E.  Green.     Adapted  by  Tom    gfjQjy  jn  tOWtll' 

Geraghty. 


"MY  MAN" 
Starring  POLA  NEGRI.     A  Herbert  Brenon  pro- 
duction.    Written  for  the  screen  by  Fred  Jackson 
from  the  play   "Mon  Homme"  by  Andre  Picard 
and  Francis  Carco. 

"WHEN  KNIGHTS  WERE  BOLD" 

Starring  GLENN  HUNTER.  Francis  Wilson's 
famous  comedy.  By  Charles  Marlowe.  Edited 
and  titled  by  Ralph  Spence. 

"TRIUMPH" 

CECIL  B.  DeMILLE'S  production;  with  Leatrice 
Joy  and  Rod  La  Rocque,  from  the  Saturday  Even- 
ing Post  story  by  May  Edginton.  Adapted  by 
Jeanie  Macpherson. 

"THE  STRANGER" 

A  Joseph  Henabery  production  with  Richard  Dix, 
Leatrice  Joy,  and  Lewis  Stone.  From  the  story 
"The  First  and  the  Last"  by  John  Galsworthy. 
Adapted  by  Edfrid  Bingham. 

"ARGENTINE  LOVE" 

Starring  GLORIA  SWANSON.  Screen  play  by 
Julian  Johnson  from  the  story  by  Vicente  Blasco 
Ibanez.     An  Allan  Dwan  production. 

"NORTH  OF  36" 

James  Cruze's  production  with  Jack  Holt,  Ernest 
Torrence  and  Lila  Lee.     By  Emerson  Hough. 

"THE  NEXT  CORNER" 

A  Sam  Wood  production  of  the  novel  and  play  by 
Kate  Jordan.     Adapted  by  Monte  Katterjohn. 


"If  it's  a 
Paramount 

Picture 
it's  the  best 


^Y 


(tynts  (lyres  I  \  Jac\{  "Holt 


JhcoAon  Tiobertif 


Jois  Wilson  fli  Charles Del\ock i 


AUTHORS   & 

Booth  Tarkington 
Emerson  Hough 
William  J.  Locke 
Vicente  Ibanez 
Zane  Grey 
May  Edginton 
Richard  Harding 

Davis 
Kate  Jordan 
Maude  Fulton 
Charles  Marlowe 
Tom  Geraghty 
Jack  Cunningham 
Jeanie  Macpherson 
Albert  Le  Vino 
Francis  Carco 
Doris  Schroeder 
Lloyd  Sheldon 
Ralph  Block 
Paul  Sloan 
Walter  Woods 


Rudyard  Kipling 
Arthur  Train 
John  Galsworthy 
Rex  Beach 
Julian  Street 
Byron  Morgan 
Marc  Connelly 
George  Kaufman 
Andre  Picard 
Adolphe  d'Ennery 
Monte  Katterjohn 
Edfrid  Bingham 
Clara  Beranger 
Julian  Johnson 
P.  S.  P.  Dumanoir 
F.  McGrew  Willis 
Lucien  Hubbard 
Ralph  Spence 
Beulah  Dix 
June  Mathis 
Forrest  Halsey 


:::.- 


■\  £dwan(  Hortonf 
IZSi ■    /ll 


it's    the     best    show    in     town 


When  you  write  to  advertisers  please  mention  rnOTOPLAY  MAGAZINE. 


The  Law  of  the  Flawless 

Chicago,  111. 
Editor  Photoplay  Magazine. 

Dear  Sir:  I  saw  "The  Law  of  the  Lawless." 
last  night,  with  Dorothy  Dalton  and  Charles  De 
Roche.  He  is  good-looking,  one  must  admit. 
But  he  cannot  be  compared  with  Rodolph 
Valentino.  With  Valentino  one  cannot  find 
fault,  for  he  is  perfect.  But  with  De  Roche 
on  •  can  find  fault.  His  profile  is  terrible,  his 
face  is  too  thin  and  he  is  too  tal!  for  the  screen. 
Charles  De  Roche  cannot  take  Rodolph  Val- 
entino's place.  Lor  Rodolph  is  still  loved  by 
the  public  and  many  are  waiting  for  him  to 
return  to  the  screen. 

Will  some  of  the  men  please  tell  me  why  they 
dislike  Rodolph?  I  think  the)-  are  all  jealous 
of  him  because  they  know  he  is  good-looking 
but  they  won't  admit  it.  Many  men  ridicule 
him,  but  instead  of  ridiculing  him,  the)'  had 
far  better  copy  him.  May  he  soon  return  to 
the  screen!  Marie  Thomas. 

The  Anti-Tobacco  Movement 

Los  Angeles,  Calif. 
Editor  Photoplay  Magazine. 

Dear  Sir:  I'm  "sore"  on  the  motion  picture. 
There  are  many  not  worth  the  wasted  time, 
let  alone  the  ticket!  True,  a  few  are  good, 
but  there  should  be  a  higher  percentage  of 
good  ones. 

What  disgusts  me  most  is  the  fiendish  per- 
sistence of  most  producers  in  forcing  the 
patron  to  look  upon  some  one  or  more  actors 
in  nearly  every  film,  sucking  a  cigarette. 

Mr.  Producer,  there  is  nothing  manly, 
elevating,  educational,  decent  or  entertaining 
about  that  and,  in  furthering  the  tobacco 
trust's  propaganda  for  this  brain-consuming 
menace  you  acknowledge  your  depravity  or 
need  of  money — maybe  both. 

E.  P.  Ferte. 

Sentimental  About  Tommy 

New  Haven,  Conn. 
Editor  Photoplay  Magazine. 

Dear  Sir:  May  I  be  permitted  a  bouquet 
for  Thomas  Meighan?  This  is  not  for  his 
burial,  either,  for  we  cannot  give  him  up — not 
for  a  long  time.  I  agree  with  Ruth  Hamilton 
in  your  September  issue,  "we  fans  must 
rally,"  and  rally  we  will.  Mr.  Meighan 
knows  the  picture  business  from  start  to 
finish,  but  he  also  knows  something  about  his 
fans  and  how  they  love  him  and  his  fine  clean 
pictures.  No, — with  dear  Wally  gone,  we 
cannot  spare  Tom  yet.  There  are  far  too 
few  pictures  put  out  that  a  family  may  count 
on  enjoying  together.  We  need  him  on  the 
screen.     Let  others  do  the  directing. 

To  me  Mr.  Meighan  is  laying  a  sure  founda- 
tion for  better  and  more  wholesome  pictures 
and  I  want  him  to  stay  till  his  work  is  done 
and  something  lasting  is  accomplished.  We 
need  his  high  picture  and  moral  ideals.  So 
come  on  Americans,  Irish  or  otherwise,  and 
let  us  support  our  true  blue  Yankee. 

Eleanor  M.  Benton. 

Two  Regular  Fellows 

Hartford,  Conn. 
Editor  Photoplay  Magazine. 

Dear  Sir:  I  read  Mrs.  Lois  B.  Wilson's 
letter  in  your  magazine  and  agree  with  her 
that  we  want  to  see  more  of  Richard  Dix  in 
your  magazines.  I  have  been  looking  for 
months  for  a  good-sized  photo  of  Dix  and  have 
been  unable  to  find  one  in  the  Photoplay. 

I  would  also  like  to  see  more  of  Cullen 
Landis.  I  think  he  is  the  "nicest  grown-up 
kid"  on  the  screen. 

Barbara  Day. 

10 


Brickbats 
Bouquets 

LETTERS 
FROM  READERS 


The  readers  of  Photoplay  are 
invited  to  write  this  department 
— to  register  complaints  or  com- 
pliments— to  tell  just  what  they 
think  of  pictures  and  players. 
We  suggest  that  you  express  your 
ideas  as  briefly  as  possible  and 
refrain  from  severe  personal  crit- 
icism, remembering  that  the 
object  of  these  columns  is  to  ex- 
change thoughts  that  may  bring 
about  better  pictures  and  better 
acting.  Be  constructive.  We  may 
not  agree  with  the  sentiments  ex- 
pressed, but  we'll  publish  them 
just  the  same!  Letters  should  not 
exceed  200  words  and  should  bear 
thewriter'1  sfuli 'name  and address. 


Be  Yourself,  Betty 

San  Jose,  Calif. 
Editor  Photoplay  Magazine. 

Dear  Sir:  I  want  to  make  one  protest,  that 
is  Betty  Compson  playing  crook  roles. 

I  have  just  seen  "The  Woman  with  Four 
Faces,"  and  after  seeing  Miss  Compson  in 
"To  Have  and  To  Hold,"  I  was  very  much 
disappointed.  Not  in  her  acting — that  was 
splendid,  but  rather  seeing  her,  the  lovely 
heroine  of  that  beautiful  story,  as  a  crook. 

Please,  Miss  Compson,  don't  play  that  kind 
of  a  role.  I  (and  I  think  other  fans)  would 
sooner  see  you  as  yourself,  more  like  Jocclyn 
Leigh. 

Now  I  wish  to  give  her  through  this  depart- 
ment, a  great  big  bouquet  for  her  acting  in 
"To  Have  and  To  Hold."  It  was  perfectly 
lovely:  Mother  and  I  have  agreed  to  that! 

Hoping  to  see  her  in  another  role  like  it  soon. 
Ria  E.  McCann. 

For  Gloria  and  Irene 

Nashville,  Tenn. 
Editor  Photoplay  Magazine. 

Dear  Sir:  Just  a  few  words  of  praise  for 
Irene  Rich.  Oh,  but  she  is  lovely!  I  saw  her 
in  "Brass,"  and  if  ever  an  actress  made  a  hit 
with  me,  it  is  she.  tier  naturalness  has  won 
her  many  friends  in  the  South,  and  Nashville 
(The  City  of  Opportunity)  especially.  They 
haven't  stopped  talking  about  her  yet. 

Monte  Blue,  as  usual,  was  wonderful. 

And  why  all  the  Brickbats  for  Gloria  Swan- 
son?  Indeed  she  can  act,  and,  if  she  can't, 
she  can  wear  her  clothes  well,  and  that  is  more 
than  some  women  can  do!  I  think  it  is  worth 
the  price  of  admission  to  see  the  lovely  gowns 
she  wears  so  well. 

"Dinkie"  Claire. 


Dragging  in  the  Fetes 

Indianapolis,  Ind. 
Editor  Photoplay  Magazine. 

Dear  Sir:  I  have  just  got  home  from  seeing 
"The  Girl  Who  Came  Back,"  and  I  liked  it: 
But— 

We  have  here  a  good  story,  a  good  cast 
(Kenneth  Harlan  is  great,  and  Miriam  Cooper 
has  always  seemed  to  me  the  most  beautiful 
woman  on  the  screen,  and  a  splendid  actress, 
besides).  Then  why,  in  the  name  of  all  that's 
erratic,  drag  in  the  Oriental  fete  scene?  It 
only  served  to  divert  the  attention  and 
weaken  the  story,  since  it  just  appeared  sud- 
denly without  warning  and  without  reason, 
unless  it  be  to  show  the  costumes. 

I  have  noticed  this  in  a  good  many  pictures 
lately — suppose  it  is  brought  about  by  the 
success  of  several  pictures  recently  in  which 
such  costumes  and  settings  were  all  right,  and 
a  part  of  the  plot.  But  I  wish  we  didn't  have 
to  be  annoyed  by  seeing  it  when  there's  no 
cause  for  it,  and  almost  no  excuse. 

"The  play's  the  thing,"  and  the  accurate 
portrayal  of  the  characters  in  it. 

Nellie  Sherman. 

Ruddy's  Place 

Selma,  Ala. 
Editor  Photoplay  Magazine. 

Dear  Sir:  Like  many  others  I  have  read 
"Brickbats  and  Bouquets"  for  ages  and  ages, 
but  I  have  never  before  contributed  anything 
to  its  columns. 

I  read  Allan  Smith's  letter  in  the  August 
issue  and  I  thoroughly  agree  with  him.  Fans 
are  entirely  too  quick  to  criticize  a  star  for 
what  he  cannot  do,  instead  of  praising  him  for 
what  he  can  do! 

I  couldn't  possibly  write  a  letter  without 
saying  some  word  for  Valentino.  Stars  may 
come  and  stars  may  go,  but  Ruddy  will  live 
forever! 

Ramon  Novarro  is  a  splendid  actor  and  he 
is  exceedingly  handsome,  but  he  will  never 
never  take  the  place  of  our  beloved  Rodolph. 
Ruddy's  world  of  admiring  fans  are  waiting 
with  open  arms  to  receive  him  back  when  he 
comes. 

I  have  just  seen  "Only  38"  and  I  must 
admit  that  every  single  actor  and  actress  who 
made  that  picture  such  a  success  is  worth 
a  diamond-studded  gold  medal  (if  there  ever 
has  been  such  a  thing).  May  McAvoy  was 
especially  impressive.  Taking  it  "all  in  all" 
it  was  a  glorious  production. 

Rubye  L.  Ruttedce. 

Forgetting  the  Fundamental 
Thing 

Yonkers,  N.  Y. 
Editor  Photoplay  Magazine. 

Dear  Sir:  It  seems  to  me  that  the  motion 
picture  industry  is  artistically  at  a  standstill — 
and  has  been  for  the  last  three  years.  I  admit 
the  boldness  of  such  a  statement,  yet  it  is  not 
a  suddenly  arrived  at  conclusion,  being  my 
frank  opinion  as  a  fan.  Nor  am  I  one  of  these 
detestable  individuals  who  set  up  their  thought 
as  a  criterion  and  admit  no  other  argument; 
for  while  I  say  that  the  industry  is  at  a  stand- 
still in  so  far  as  improvement  is  concerned, 
I  do  not  see  any  irrevocable  reason  why  it 
should  be. 

The  motion  pictures  produced  "Broken 
Blossoms."  It  was  a  work  of  art.  What  has 
been  done  can  be  done  again,  and  improved 
upon.  "Broken  Blossoms"  is  now  over  three 
years  old  and,  by  universal  acknowledgment, 
it  has  never  been  equaled.     Why? 

To  be  sure,  we  have  had  "Humoresque," 
which  was  perhaps  the  nearest  approach  to 

[  CONTINUED-ON  PAGE  24  ] 


Photoplay  Magazine — Advertising  Section 


1 1 


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are  lowest  and  Hartman's  terms  most  liberal 
—  that's  why  we  send  you  this  splendid 
Phonograph  at  this  smashed  price. 

This  Phonograph  is  made  by  Columbia 
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Order  by  No.  269EEMA23.  Bargain  Price,  $29.95.  Pay  $3.95  and  small  transportation  charges  on 
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'Let  Hartman  Feather  YOUR  Nest' 


,  HARTMAN 

|   Dept.  5695    Chicago,  Illinois 

I  Send  me  the 
Mahogany  Finish  Phonograph 
No.269EEMA23.  Price  $29.95 
and  with  it  the  12  Double-Faced 
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absolutely  FREE.  I  will  pay  $3.96 
and  small  transportation  charges 
I  when    shipment    arrives.    It    is 

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I   free  trial,  I  will  return  the  Phonograph  and  all  records,  and  you  will  refund 
my  $3.95  and  pay  transportation  charges  both  ways. 


HARTMAN 


Dept.  5695 


Copyright.  1923.  by 
Hartman's,  Chicago 


FURNITURE  & 
CARPET  CO. 
CHICAGO,  ILLINOIS 


Name Occupation. 

R.  F.  D..  Box  No. 

or  Street  and  No 


I 
I 

I 

I   Send  shipment  to. 


Post  Office -. State.. 

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When  you  write  to  adrertlseis  please  mention  rilOTOPI.AV  MAGAZINE. 


12 


Photoplay  Magazine — Advertising  Section 


Latest  Photograph  of  Earle  E.  Liederman 

If  you  were  dying 

■  •    _„1 .    ■     and  I  offered  you  something 

fOrilSllL  lh:"  """ll1  Bive  you  len 
^^^^^^>  **  years  more  to  live,  would 
you  take  it?  You'd  grab  it.  Well,  fellows.  I've  got 
it.  but  don't  wait  till  you're  dying  or  it  won't  do  you 
a  bit  of  good.  It  will  then  be  too  late.  Right  now  is 
the  time.  To-morrow,  or  any  day  some  disease  will 
get  you  and  if  you  have  not  equipped  yourself  to 
fight  it  off,  you're  gone.  I  don't  claim  to  cure  dis- 
ease. I  am  not  a  medical  doctor,  but  I'll  put  you  in 
such  condition  that  the  doctor  will  starve  to  death 
waiting  for  you  to  take  sick.  Can  you  imagine  a 
mosquito  trying  to  bite  a  brick  wall?    A  fine  chance! 

A  REBUILT  MAN 

I  like  to  get  the  weak  ones.  I  delight  in  getting 
hold  of  a  man  who  has  been  turned  down  as  hopeless 
by  others.  It's  easy  enough  to  finish  a  task  that's 
more  than  half  done.  But  give  me  the  weak,  sickly 
chap  and  watch  him  grow  stronger.  That's  what  1 
like.  It's  fun  to  me  because  I  know  I  can  do  it  and  I 
like  to  give  the  other  fellow  the  laugh.  I  don't  just 
give  you  a  veneer  of  muscle  that  looks  good  to  others. 
I  work  on  you  both  inside  and  out.  I  not  only  put 
big.  massive  arms  and  legs  on  you  but  I  build  up 
those  inner  muscles  that  surround  your  vital  organs. 
Die  kind  that  give  you  real  pep  and  energy,  the 
kind  that  Are  you  with  ambition  and  the  courage  to 
tackle  anything  set  before  you. 

ALL  I  ASK  IS  NINETY  DAYS 

Who  says  it  takes  years  to  get  In  shape?  Show  me 
the  man  who  makes  any  such  claims  and  I'll  make 
him  eat  his  words.  I'll  put  one  full  inch  on  your  arm 
in  just  30  days.  Yes,  and  two  full  inches  on  your 
chest  in  the  same  length  of  time.  Meanwhile,  I'm 
putting  life  and  pep  into  your  old  back-bone.  And 
from  then  on,  just  watch  'em  grow.  At  the  end  of 
ihirty  days  you  won't  know  yourself.  Your  whole 
body  will  take  on  an  entirely  different  appearance. 
But  you've  only  started.  Now  comes  the  real  works. 
I've  only  built  my  foundation.  I  want  just  60  days 
more  (00  In  all)  and  you'll  make  those  friends  of 
yours  that  think  they're  strong  look  like  something 
the  cat  dragged  in. 

A  REAL  MAN 

TYlicn  T  ■m  through  with  you,  you're  a  real  man.    The  kind  that 
ran  nrove  it.     You  will  be  Me  to  do  things  that  vou  had  thought 
bio.     Ard  The  beauty  of  it  is  you  keep  on  going.     Your  deep 
■r-ulating  your  blood  and  mak- 


in   p.,' 

full  r 


■  *M 

jn-t  bubble  ovir  with  vi 

i,  and  vital 

?v'     Your 

.    U  III, 

cuhir  arn,» 

have  that 

ic  exc 

D  regulor  l.e  mat 

You  hav 

C    til.-    fldf.ll 

lii'd  the  pep  to  voir  utep  that  will  make  vou  admired  and  Bought 
after  in  both  the  busincaa  nt>d  social  world. 

Thin  is  no  idle  prat de,  fellows,  If  vou  doubt  me.  make  me  prove 
it.  C.n  ahead.  I  like  it.  I  have  already  d..r,e  thin  for  thousand*, 
of  oilier*  and  my  records  are  nnchallencfd.  What  I  have  done  for 
them,  I  "ill  do  for  you.  Come  then,  for  time  flic*  and  every  day 
Count*.     Let  this  very  day  be  tlie  beginning  of  new  life  to  you. 

SEND  FOR  MY  BOOK 
"  MUSCULAR    DEVELOPMENT" 

It  eontnint  dozens  and  do:en»  of  full 

•nd  i">-  numerous  T»ipil»>.  This  OooK  is  bound 
vou  rind  tluill  you.  It  will  be  BD  impetus — an  infplratii 
red  blooded  man.  1  could  easily  collect  a  bi|  price  foi 
ttris  kind  just  as  others  are  new  doing,  but  I  want  ever,  m 
boy  who  is  interested  to  just  s'-i.d  the  attached  coupon  and  the 
book  it  his  abiatutrly  frte.  All  I  unk  you  to  cover  in  the  price  of 
wrapping   and   postage — 10  cents.       Remember   this  does   not  obli- 

(atC  you  in  any  way.  I  w/int  you  to  h»  TO  it.  So  it's  yours  to 
eep.  Now  don  t  delay  one  minute — this  may  he  the  turning 
point  in  your  life  today.  So  tear  off  the  coupon  and  mail  at  once 
while  it  is  on  your  mind. 

EARLE  E.  LIEDERMAN 

Dept.  111.  305  Broadway.  New  York 


EARLE  E.  LIEDERMAN 

Dept.  Ill,  305  Broadway,  N.  Y.  City 

Dear  Sir: — I  enclose  herewith  10  cents  for  which 
you  arc  to  send  me.  without  any  obligation  on  mv 
part  whatever,  a  copy  of  your  latest  hook,  "  Muscular 
Development."     (Please  write  or  print  plainly.) 

Xamc 

Address 

City State 


FRIENDLY 
ADVICE 


From 

Carolyn  Van  JVyck 


Peggy  S.,  Connecticut. 

I  am  sorry  that  blond  hair  is  not  becoming 
to  you,  now  that  you  have  bleached  your 
pretty  brown  curls.  Why,  oh  why,  didn't  you 
come  to  me  earlier  for  advice?  I  might  have 
averted  the  disaster.  However,  now  that  the 
mischief  is  done,  you  will  have  to  make  the 
best  of  a  bad  situation.  Don't,  by  any  weans, 
dye  your  hair  brown  again.  Your  'suggestion 
makes  me  shudder!  If  you  keep  on  experi- 
menting with  color  schemes  you'll  end  by 
having  no  hair  at  all.  You'll  have  to  go 
through  the  disagreeable  mottled  stage  that 
attends  all  "growing  back  parties"!  And 
probably,  when  the  months  have  crept  past, 
you'll  be  a  sadder  and  wiser  young  lady. 

A.  H.  K..  Minneapolis,  Minn. 

You  tell  me  that  your  husband  is  untrue — 
you  are  sure  because  you  have  opened  letters 
addressed  to  him,  and  read  them!  My  dear, 
don't  you  know  that  you  yourself  have  done  a 
dishonest  thing  in  opening  mail  addressed  to 
someone  else?  How  do  you  know  the  cir- 
cumstantial evidence,  that  you  possess  so  un- 
fairly, is  true?  Circumstantial  evidence  often 
lies!  The  best  thing  to  do  is  to  admit  what 
you  have  done  to  your  husband — and  hope 
that  he  will  have  a  logical  explanation.  Only 
remember  that  you  have  been  in  the  wrong, 
too! 

Mrs.  E.  J.  K.,  New  York  City. 

So  your  daughter  of  fourteen  wants  to  go  to 
dances  and  theaters — wants,  as  you  put  it, 
"to  have  a  beau  every  minute"!  Well,  the 
mother  of  today — with  an  ultra  modern 
daughter — has  an  everlasting  problem  to  face. 
The  girls  of  yesterday  were  so  different — they 
made  their  debuts  at  eighteen.  And  played 
with  baby  dolls  at  fourteen.  My  only  advice 
to  you,  Modern  Mother,  is  that  you  strive 
to  be  tactful.  Don't  forbid  too  forcefully — try 
rather  to  exert  a  pleasant  influence!  Keep 
the  guiding  hand  gentle,  though  firm.  Renew 
your  youth  to  the  extent  of  taking  an  active 
interest  in  the  affairs  of  your  child.  If  she 
insists  on  "beaux"  let  her  have  parties  at  her 
own  home — so  that  she  will  not  go  after  her 
excitement  in  a  clandestine  way. 

Mabel  S.,  Newark,  N.  J. 

With  fair  hair  and  brown  eyes,  you  will  be 
charming  in  an  evening  frock  of  bronze  and 
green.  The  combination  is  a  happy  one,  and 
is  unusual.  You  ask  what  sort  of  slippers  you 
should  wear  with  the  frock.  I  think  bronze 
slippers  and  bronze  chiffon  hose  the  logical 


choice,  with  a  band  of  bronze  in  your  blond 
hair.  As  you  are  inclined  to  be  plump,  have 
the  dress  made  simply,  with  never  a  frill  nor  a 
ruffle.  Straight  lines  are  your  forte.  They 
will  add  materially  to  your  attractiveness. 

Yery  Blue,  Conn. 

If  the  man  of  your  heart  cannot  make  up 
his  mind  in  regard  to  marrying  you,  there  is 
nothing  for  me  to  say — and  little  advice  for 
me  to  give.  The  days  of  witchcraft — of  love 
potions  and  the  like — are  past.  Only  I  might 
suggest  that  you  make  your  pride  step  into  the 
picture.  A  bit  of  pride,  an  aloof  air,  may  help 
now,  more  than  anything  else.  Man  should 
always  be  the  pursuer.  When  he  is  the  pur- 
sued, he  loses  interest.  If  the  man  in  question 
is  made  to  think  that  you  are  a  trifle  hard  to 
get,  he  may  become  much  more  eager  to  claim 
you  as  his  bride.  Knowing  that  you  listen 
prayerfully  to  his  every  word  will  only  add  to 
his  confidence — and  his  conceit. 

Mother-in-law,  Salt  Lake  City,  Utah. 

You  feel  that  you  are  losing  your  son's 
affection.  That  he  is  being  influenced  against 
you  by  your  daughter-in-law — whom  you 
confess  you  do  not  like.  You  are  sure,  you 
say,  that  she  talks  about  you,  that  she  uses 
unfair  means  of  turning  your  own  flesh  and 
Mood  against  you. 

Perhaps  you  are  right.  But  then,  again, 
perhaps  you  are  doing  this  daughter-in-law  a 
great  injury.  Perhaps,  because  you  do  not 
like  the  girl,  you  suspect  her  unjustly.  Per- 
haps, because  you  are  suspicious,  you  imagine 
slights.  Perhaps — and  this  is  most  important! 
— the  fault  is  on  your  side. 

You  give  me  no  reason  for  your  dislike  of 
jour  son's  wife.  Are  you  quite  certain  that 
your  feeling  is  not  based  upon  a  world-old 
jealousy?  Are  you  sure  that  you  would  not 
have  resented  any  girl  that  your  son  married? 
Because,  by  marrying  him,  that  girl  would  take 
first  place  in  his  life! 

No  man  can  be  happy,  and  normal  in  his 
actions,  if  he  feels  that  he  is  the  center  of 
strife,  of  discord.  Your  son  would  naturally 
be  more  formal,  less  demonstrative,  with  you 
if  he  sensed  that  you  were  weighing  his  every 
word,  and  forming  conclusions  against  the 
girl  that  he  loves.  His  constraint,  while  in 
your  presence,  is  partly  caused  by  embar- 
rassment. Try  to  relieve  his  embarrassment, 
and  your  own  heart-ache,  by  making  friends 
with  his  wife.  Meet  her  more  than  half  way. 
Make  your  common  love  for  the  same  man  a 
bond — rather  than  a  dividing  line. 


Let  Carolyn  Van  Wyck  be  your  confidante 
She  will  also  be  your  friend 

S^AROLYN  VAN  JVYCK  is  a  society  matron,  well  known  in  New  York's  smartest 
(_,  and  most  exclusive  inner  circle.  She  is  still  young  enough  fully  to  appreciate  the 
problems  of  the  girl — she  is  experienced  enough  to  give  sound  advice  to  those  in  need  of 
it;  be  they  flappers,  business  women,  or  wives  and  mothers.  She  invites  your  confidences 
— she  will  respect  them — on  any  subject.  Clothes,  charm  and  beauty,  love,  marriage, 
the  dreams  and  hopes  that  come  to  every  one,  the  heartbreaks  and  the  victories — who  has 
not  wished  to  talk  them  over  with  some  woman  who  would  be  tolerant  and  just,  sympa- 
thetic and  filled  with  human  understanding?     Here  is  the  opportunity  to  do  so. 

—  The  Editor 


Ei.  iy  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


m 


Photoplay  Magazine — Advertising  Section 


I  mean  just  exactly  what  I  say!  I  don't  care  how  thin  your  hair  may  be — I  don't  care 
how  many  treatments  you  have  taken  without  results.  If  my  new  discovery  won't  re- 
store your  hair,  I  don't  want  to  keep  a  cent  of  your  money!  Furthermore  I'll  send  you 
the  proof  of  what  I  have  done  for  others  entirely  FREE!     Just  mail  the  coupon  below. 

By  ALOIS  MERKE 
Founder  of  Famous  Merke  Institute,  Fifth  Ave.,  New   York 


AFTER  17  years'  experience  in  treat- 
ing baldness — which  included  long 
years  of  experimentation  in  Heidel- 
berg. Paris,  Berlin,  Geneva,  Cairo  and 
other  centers  of  scientific  research — I  have 
discovered  a  startling  new  way  to  promote 
hair  growth. 

At  the  Merke  Institute,  Fifth  Avenue, 
New  York  —  which  I  founded  —  I  have 
treated  scores  of  prominent  stage  and  social 
celebrities.  People  are  coming  to  me 
from  all  parts  of  the  country  to  gain  the 
benefits  of  my  discovery.  Many  pay  as 
high  as  $500  for  the  results  I  have  brought 
them. 

Yet  now,  through  a  series  of  ingenious 
inventions,  I  have  made  it  possible  for 
every  one  to  avail  themselves  of  my  dis- 
covery— right  in  their  own  homes,  and  at 
a  cost  of  only  a  few  cents  a  day! 

My  Unusual  Guarantee! 

I  know  you  are  skeptical.  I  know  that  you  have  tried  per- 
haps dozens  of  different  remedies  and  treatments  without 
results.  I  know  that  you  have  wasted  time  and  money  on 
treatments  which  by  their  very  nature  could  NEVER  restore 
your  hair.  All  right.  Perhaps  my  treatment  cannot  help 
you,  either.  I  don't  know.  But  I  do  know  that  it  has  banished 
falling  hair  and  dandruff  for  hundreds  of  others — often  with 
the  first  few  treatments.  I  do  know  that  it  has  already  given 
thick,  luxuriant  hair  to  people  who.  long  ago  had  despaired  of 
regaining  their  hair.  And  I  am  so  downright  positive  that  it 
will  do  the  same  for  you  that  I  am  entirely  willing  to  let  you 
try  it  at  my  risk— and  if  it  fails  to  restore  your  hair,  then  I'll 
instantly — and  gladly — mail  you  a  check,  refunding  every 
cent  you  have  paid  me.  In  other  words,  I  absolutely  GUAR- 
ANTEE to  grow  new  hair  on  your  head — and  if  I  fail,  then 
the  test  is  free. 

Entirely  New  Method 

What  is  my  method?  It  is  entirely  new.  It  is  entirely  different 
from  anything  you  ever  heard  of.  No  massaging — no  singeing — 
no  "mange"  cures — no  unnecessary  fuss  or  bother  of  any  kind.  Yet 
results  are  usually  noticeable  even  after  the  very  first  few  treat- 
ments. 

Many  people  have  the  idea  that  when  the  hair  falls  out  and  no 
new  hair  appears,  that  the  hair  roots  are  always  dead. 

I  have  disproved  this.  For  I  have  found  in  many  cases  which 
have  come  under  my  observation  that  the  hair  roots  were  NOT  dead, 
but  merely  dormant!  Through  undernourishment,  dandruff  and 
other  causes,  these  starving,  shrunken,  roots  had  literally  gone  into 
a  state  of  "suspended  animation."  Yet  even  if  the  scalp  is  com- 
pletely bare,  it  is  now  possible  in  the  majority  of  cases  to  awaken 
these  dormant  roots,  and  stimulate  an  entirely  new  growth  of 
healthy  hair!     I  KNOW  this  to  be  true — because  I  do  it  every  day. 

Ordinary  measures  failed  to  grow  hair  because  they  did  not  pene- 
trate to  these  dormant  roots.  To  make  a  tree  grow,  you  would  not 
think  of  rubbing  "growing  fluid"  on  the  bark.  Instead,  you  would 
get  right  to  the  roots.     And  so  it  is  with  the  hair. 


money   unless   I   grow   hair  on   your 
head. 


Free  Booklet  Explains 
Treatment 

If  you  will  merely  fill  in  and  mail 
the  coupon  below,  I  will  gladly  send 
you — without  cost  or  obligation — an 
interesting  32-page  booklet,  describ- 
ing my  treatment  in  detail. 

This  booklet  contains  much  helpful 
information  on  the  care  of  the  hair — 
and  in  addition  shows  by  actual  pho- 
tographs what  my  treatment  is  doing 
for  others. 

No  matter  how  bald  you  are — no 
matter  if  you  are  completely  bald, 
this  booklet  will  prove  of  deepest  in- 
terest to  you.  So  mail  the  coupon 
now — and  it  will  be  sent  you  by  re- 
turn mail. 

Allied   Merke   Institutes,  Inc. 

Dept.  3911 
512  Fifth  Avenue  New  York  City 


In  all  the  world  there  is  only  one  method  I 
know  about  of  penetrating  direct  to  the  roots 
and  getting  nourishment  to  them.  And  this 
method  is  embodied  in  the  treatment  that  I 
now  offer  you  on  my  positive  guarantee  of 
satisfactory  results,  or  the  trial  costs  you 
nothing.  The  treatment  can  be  used  in  any 
home  in  which  there  is  electricity. 

Already  hundreds  of  men  and  women  who 
only  recently  were  bald  or  troubled  with  thin, 
falling  hair,  have  through  this  method,  ac- 
quired hair  so  thick  that  it  is  the  envy  and 
admiration  of  their  friends.  As  for  dandruff 
and  similar  scalp  disorders,  these  usually  dis- 
appear after  the  first  few  applications. 

Remember — I  do  not  ask  you  to  risk  "one 
penny"  in  trying  this  treatment.  I  am  per 
fectly  willing  to  let  you  try  it  on  my  absolute 
GUARANTEE— and  if  after  30  days  you 
are  not  more  than  delighted  with  the  growth 
of  hairproduced, 
then  I'll  gladly 
return  every 
cent  you  have 
paid  me.  I 
don't  want  your 


Actual  Results 

(Dozens  of  letters  like  the 
following  are  received  ev- 
ery day  by  the  Merke  In- 
stitute.) 

"In  the  short  time  I  have 
used  your  treatment  I  have 
gained  remarkable  results. 
Dandruff  has  disappeared 
entirely.  My  scalp  is  now  all 
full  of  fine  new  hair.  Would 
not  part  with  my  treatment 
for  10  times  its  cost." 

A.  W.  B. 


"The  top  of  my  head  is  now 
almost  covered  with  new  hair 
about  one-half  inch  long.  I 
have  been  trying  five  years, 
but  could  never  find  anything 
to  make  my  hair  grow  until 
your  treatment."         T.  C. 


"Ten  years  ago  my  hair 
started  falling.  I  used  hair 
tonics  constantly,  but  four 
years  ago  I  displayed  a  per- 
fect ful!  moon.  I  tried  every- 
thing— but  without  results. 
Today,  however,  thanks  to 
your  treatment,  I  am  pleased 
to  inform  you  that  I  have 
quite  a  new  crop  of  hair  one 
inch  long.  My  friends  are 
astonished  at  the  results." 
F.  H.  B. 


ALLIED  MERKE  INSTITUTES,  Inc.,  Dept.  3911 
512  Fifth  Avenue,  New  York. 

Please  send  me,  without  cost  or  obligation  on  my  part,  a  copy  of  the  new 
booklet  describing  in  detail  the  Merke  Institute  Home  Treatment. 


Name. 


Address. 


|   City State. 


When  you  wiite  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


H 


Photoplay  Magazine — Advertising  Section 


How  to  Get 
Rid  of  Too 
Much  FAT 


French  Specialist  Makes  Startling  Dis- 
covery and  Tells  How  She  Lost 
50  Pounds  in  Two  Months 


See  Her  Free  Offer  Below 

So  as  to  enable 
every  fat  man  or 
woman  to  benefit 
by  the  amazing 
French  discovery 
with  which  Euro- 
peans are  now 
getting  rid  of 
flabby  hips  and 
double  chins,  I 
will  explain,  for  a 
limited  time  only 
to  every  one  who 
mails  coupon  bc- 
1  o  w  ,  FREE 
OF  CHARGE, 
how  I  took  off 
.50  pounds  in  2 
months. 

No  matter  how  mueli  or  how  little  you  want  to 
reduce,  or  how  many  things  you  have  tried  in  the 
past,  you  can  NOW  do  hist  as  I  did  and  get  a 
slim,  beautiful  figure  without  DIETS,  EXER- 
Cisrs,  DRUGS,  ABSURD  CREAMS  or  AP- 
PLIANCES. I  will  tell  you  just  what  to  do  to 
reduce  and  give  you  the  secret  for  which  million- 
aires have  paid  thousands. 

Madame  Elaine,  Dept.  25,  1819  Broadway, 
New  York  Citv — Kindly  explain  to  me.  confiden- 
tially and  absolutely  FREE  OF  CHARGE  what 
you  did  to  reduce. 


Name Street  . 


Town State 

It  you   care  to,  enclose  5  cents  in  stamps  to  help 
coyer  expense. 


$10  to  $20  a  Day  Profit 
Silver  King  Mint  Vender 

Will  Pay  Your  Rent 

Install  one  in  your 
store  or  any  public 
place  and  get  this 
money.  Requires 
noattention.  Always 
works.  Machine's 
profits  pay  the  rent. 
Write  us  :ibout  re- 
built machines.  Fin- 
ished like  new.  In 
excellent  runuing  or- 
der. Pay  their  cost  In 
10  days.  Writeor  wire 
today.    Price  $125. 

$26  down  payment.  Bal- 
BnceC.O.D.MintsSlS  Per 
Case  of  10005c  packages. 
Silver  King  Novelty  Co.,  300  Williams  Bid;.    Inuianapdlls, tnd. 


Sell  Madison  "Better-M»de"  Shirts, Paja- 
mas, and  Nightshirts  direct  from  our 
factory  to  wearer.  Nationally  advertised. 
Easy  to  sell.  Exclusive  patterns.  Ex- 
ceptional values.  No  experience  or 
capital  required.  Large  steady  income 
assured.  Entirely  new  proposition. 
WRITE  FOR  FREE  SAMPLES. 
MADISON  SHIRT  CO.,  BOS  B'way,  N.V.  City 


MUSIC  LESSONS  GIVEN 

"*       You  can  read  music  like  this  auickly 

IN  YOUR  HOME.  Write  today  for  our  FREE  booklet. 
It  tells  how  to  learn  to  play  Piano,  Organ.  Violin,  Mandolin, 
Guitar,  Banjo,  etc.  Beginners  or  advanced  players.  Your 
only  expense  about  2c  per  day  for  music  and  postage  used. 

AMERICAN  SCHOOL  of  MUSIC.  67  Lakeside  Bldtj.,  Chicano 


restling  BooK  FREE 

Toil  ■     tin*    tn    I  ir»     ***n      trrttlf      •  *  My  ti.      nr,.i       arian   _^ 


Lately  there  have  come  to  mc  so  many  queries  about  stationery.     "Just  what  sort  of  letter  paper," 
I  am  asked,  "do  well-bred,  fashionable  people  use?"     It  is  to  answer  the  many  questions  that  I  have 
had  reproduced,  here,  a  few  samples  of  the  personal  correspondence  paper  that  some  of  car  leading  ' 
stars  affect! 

At  the  top  of  the  photograph,  published  here,  you  will  see,  opposite  each  other,  the  amusing  Idler 
sheet  that  Connie  Talmadge  uses,  and  the  large  business-like  page  of  Douglas  Fairbanks.  Miss 
Talmadge's  paper  is  while  and  gold,  with  a  quaint  little  engraved  cat — her  pictured  initials!  The 
Fairbanks  paper  is  tan,  with  engraving  in  a  darker  brown.  The  long  monogram,  directly  below, 
is  in  rose  and  gold,  on  cream  color — it  belongs  to  Mabel  Normand.  The  dresdcn-salin  lined  envelope 
goes  with  it.  Mary  Pickford's  business  stationery  is  simple;  so  is  Pola  Negri's.  In  vclour  finish 
and  heavy  linen,  respectively.  But  Mary's  personal  letter  head,  a  raised  white  monogram,  on  white 
(directly  under  the  satin  lined  envelope)  is  as  charmingly  feminine  as  she,  herself.  Viola  Dana  uses 
a  tan  paper,  engraved  in  brown — not  unlike  the  stationery  of  the  famous  Doug.  The  crested  corre~ 
spondence  card  is  from  the.  house  of  Enid  Bennett-Fred  Niblo.  It  is  an  antique  Italian  paper,  and 
the  coat  of  arms  is  embossed  in  a  bluish  grey  upon  it.  Carolyn    Van    Wyck 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


V.  M.  W.,  Detroit,  Mich. 

Of  course  first  love  is  an  important  and  vital 
thing — at  the  time.  Xo  matter  how  young 
you  ma}-  be.  But  it  is  foolish  to  set  your 
affections  so  definitely  upon  one  boy,  at  your 
age.  There  is  plenty  of  time  for  love  and 
romance;  don't  make  any  silly  mistakes  before 
you  know  the  ways  of  the  world — and  the 
people  in  it.  Go  out  with  any  of  the  boys  who 
ask  to  escort  you — with,  of  course,  the  per- 
mission of  your  parents.  Do  not  cultivate 
the  attentions  of  any  boy  that  your  mother 
does  not  like,  or  approve  of. 

You  should  weigh  about  one  hundred  and 
seventeen  pounds.  That  is  approximately  the 
correct  weight  for  a  girl  of  five  feet,  three  and 
one-fourth  inches. 

Gladys-with-blue-eyes,  Detroit,  Mich. 

Yes,  skirts  will  continue  to  be  long.  And 
the  leading  colors  of  the  autumn  will  be 
mummy  brown,  a  new  green  and  black.  Black 
satin  is  especially  the  mode — both  the  matron 
and  the  maid  are  wearing  it.  The  mature 
woman  appears  in  a  simple,  draped  gown  of 
black  satin — the  young  girl  wears  a  full  skirted 
frock  with  a  basque  waist.  A  frock  with  a 
white  gardenia  on  one  shoulder,  or  white 
frills  at  the  neck  and  wrist.  Crepe  satin  is 
exceedingly  smart,  and  so  is  canton  crepe. 

CORINNE,  WAXAHACHIE,  TEXAS. 

Blackheads  are  distressing!  I  don't  blame 
you  for  being  annoyed  by  them.  But  they 
aren't  very  hard  to  get  rid  of. 

First  of  all  you  must  be  sure  that  your  diet 
is  correct.  And  that  your  habits  are  regular. 
Clogged  pores  may  result  from  poor  digestion 
— or  relative  ills.  And  then  you  must  be  sure 
that,  before  you  use  powder  and  rouge,  you 
apply  vanishing  cream.  And  that  you  also 
use  cream — a  cleansing  cream,  this  time — 
when  removing  the  rouge  and  the  powder. 

The  Woodbury  treatment  is  efficient,  always, 
in  beautifying  the  skin.  And  the  complexion 
clays,  that  are  so  popular,  will  remove  even 
the  most  stubborn  blackheads.  After  remov- 
ing them  use  an  astringent,  always,  to  tighten 
the  pores.  Use  a  cold  cream  powder,  if  your 
skin  is  oily. 

You  may  promote  the  growth  of  your  lashes 
by  applications  of  white  vaseline,  or  warm 
olive  oil. 

Louise,  Bronx,  N.  Y. 

Brown  hair,  brown  eyes,  and  a  clear  com- 
plexion. You  are  indeed  fortunate,  for  such 
a  combination  is  charming  in  nearly  every 
color. 

For  the  autumn  and  winter  the  ruling  shades 
will  be  green,  brown  and  black.  You  can  wear 
all  three  of  them.  You  will  also  look  well  in 
dark  or  French  blue,  in  tangerine,  scarlet, 
orchid,  rose  color  and  all  of  the  pastel  tints. 
Use  rouge  in  the  ashes  of  rose  shade,  and 
Rachel  No.  i  powder. 

You  can  reduce  through  balanced  exercise 
and  diet.  The  Wallace  exercises,  and  the 
giving  up  of  candy,  pastry  and  other  sweets 
will  work  wonders.  Your  sister  is  about  eight 
pounds  overweight. 

Bobby  G.,  Shreveport,  La. 

With  dark  golden  hair  and  golden  brown 
eyes  you  will  be  lovely  in  all  shades  of  brown, 
in  dark  blue,  in  black,  in  green  and  in  rose 
color.  Decided  colors  will  be  more  becoming 
to  you  than  pale  tints — although  the  pastel 
shades  will  be  quite  acceptable  for  evening 
wear.  Five  feet,  five  inches,  is  an  ideal  height 
for  the  type  of  dress  that  is  so  smart  this 
season — the  basque  waist  and  the  quite  full 
skirt.  Long,  tight  sleeves  are  more  popular, 
now,  than  the  short  ones. 

Any  reliable  skin  food  or  hand  lotion  will 
keep  your  hands  soft  and  white  during  the 
winter  months.  You  will  find  several  brands 
advertised  in  this  magazine.  Also — be  sure,  ' 
always,  that  you  dry  your  hands  carefully 
with  a  soft  towel.  Damp  hands  chap  so  very 
easily. 


Stop  Wondering  How  I  Teach  Piano 
I'll  Show  You,  FREE! 


Year  after  year  you've  seen  my  advertisement  in  all  the 
leading  publications,  offering  to  teach  you  piano  in  quarter 
the  usual  time.  Year  after  year  my  school  has  grown 
and  grown  until  now  I  have  far  more  students  than  were  ever 
before  taught  by  one  man.  In  1922  over  two  thousand  students 
graduated  from  my  Piano  or  Organ  course  and  received 
their  diplomas. 

Yet  when  I  first  started  giving  piano  and  organ  lessons  by 
mail  in  1891  my  method  was  laughed  at.  Could  my  con- 
servatory have  grown  as  it  has,  obtained  students  in  every 
State  of  the  Union,  and,  in  fact,  practically  every  civilized 
country  of  the  world,  unless  it  produced  very  unusual  and 
satisfying  RESULTS  for  its  students?  See  for  yourself 
what  it  is  that  has  brought  my  method  so  rapidly  to  trie  front. 
Write  for  free  booklet  and  sample  lessons. 

Now,  for  the  first  time,  you  can  obtain  sample  lessons  with- 
out charge.  In  the  past,  I  have  always  been  opposed  to  sending 
out  free  lessons,  even  to  persons  who  were  seriously  interested 
in  my  course.  But  my  friends  have  insisted  that  I  give  every- 
body a  chance  to  see  for  themselves  just  how  simple,  interest- 
ing and  DIFFERENT  my  lessons  are,  and  I  have  consented  Co  try  the 
experiment  for  a  short  time.  Simply  mail  the  coupon  below  or  write  a 
postcard,  and  the  64-page  booklet  and  sample  lessons  will  go  to  you  at 
once  absolutely  free  and  without  obligation.  j 

Within   four   lessons   you    will    play   an    interesting  piece  on  the     • 
piano  or  organ,  not  only  in  the  original  key,  but   in  all  other  keys     > 
as  well.     Most  students  practise  months  before  they  acquire  this     »— 
ability.     It  is    made  possible    by  my  patented    invention,  the      * 
Colorotone.  /   QUINN 

Another  invention,  obtainable  only  from  me,  is  my  /Conservatory 
hand-operated  moving  picture  device,  Quinn-dex.  By  +  Studio  P  H  "1 
means  of  Quinn-dex  you  actually  see  my  fingers  in  mo-  Sc;98  Columbia  Road 
tion  on  the  piano,  and  can  learn  just  how  to  train  r  '  Boston,  25,  Mass. 
your  own  fingers.  /  Please  send  me,  wnh- 

When    I    say  that    I  can  teach  you  piano   in      •     °ut  cost  or  obligation, 
,,  .    ..  ,  .    ...    ,      .,     .        .—    your  free  booklet.      How 

quarter  the   usual    time,  do   not   think    that    y    to  Learn  Piano  or  Organ," 
this  is  too  good  to  be  true.     Modern  inven-      +      tree  sample  lessons,  and  full 
tions  and  improved  methods  have  accom-       f   particulars  of    your    method, 
plished   just  as  great  wonders    in  other     / 
branches  of  education.     You  at  least     >    Name 
owe  it  to   yourself   to   investigate.     » 
Send  coupon  or  postcard  at  once,      * 

before  the  offer  of  free   sample    /     Address 

lessons  is  withdrawn. 


.• 


NightLight   VANITY 

A  Mighty  Bargain.  Former  price  $8.50 

Devoting  an  entire  section  of  the  factory  to 

its  exclusive  manufacture  has  made  this 

amazing:  price  possible.    Snappy,  up-to-date 

and  beautiful,  this  handsome  Vanity  Case  will 

please  the  moat  fastidious.    Made  from  the  finest  black 

,  id  the  lustrous  Patent  finish  now  bo  fashion- 

le,  over  a  strong  and  eubatantia)  veneer  wood  frame. 

n tire  interior  of  thecaae  is  lined  with  beautiful  "cloth 

Of  sold"  in  the  striking  two-tone  cubist  design.     A  heavy  mi- 
tered  mirror  made  from  the  finest  plate  glass  is  permanently 
6xed  to  the  inside  of  the  cover.     The  handsome  Toilette 
re  gold  finished,  highly  polished  and  strikingly 
attractive.     A  double  strap  handle  of  genuine  leather 
makes  it  easy  to  carry.      The  size  is  generous,  7  1-2 
in.  long,  6  1-2  in.  wide  and  3  in.  deep.    Fitted  with 
the  latest  Patent  Snap  Trunk  Kay  Lock,  exactly  as 
illustrated.    The  greatest  feature  of  this  wonder- 
fulcaaalsthe  Brilliant  Elactrlc  Bulb  which  reflects 
a  clear  powerful  light  into  the  mirror  at  the  touch 
of  a  button.    Itsadvantages  are  obvious-it  enab- 
les Mi  lady  to  correct  her  appearance  without  be- 
ing at  the  mercy  of  darkness.     A  tiny  Tungsten 
battery  that  will  last  for  monthsiaconcealed  in  the 
case;  when  exhausted  it  can  be   replaced  at  any 
hardware  store  for  20c.  Makea  a  Wonderful  Gift. 
EVa  a  with  every  Vanity  we  give  absolutely  free 
rreeof  charge  a  handsome  ''Cloth  of  Gold" 
coin  and  card  purse  designed  to  match  the  lining. 

Send  No  Moneyf,f«.^°rt  ™°3";|.''nh.tn?.t 

'and  address  and  your  Vanity  will  come  by  return 
—  II,  When  it  arrives,  pav  postmen|$4.82  plus  a  few 
Be  postage.  You  do  not  rlak  •  alngle  penny  as  our 
lading  Written  Guarantee  to  refund  all  your  money 
'  you  are  not  fully  satisfied,  is  attached  to  every 
anity  Case.    Send  today. 

E.   RICHWINE  CO.,  Dept.    738 
9  W.  Jackson  Blvd.       Chicago,  Illinois 


f 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


i 
- 


[ 


Brief  Reviews  of  Current  Pictures 


ABYSMAL  BRUTE.  THE  —  Universal.  —  A 
woman-shy  young  man  with  a  wallop  in  his  right  fist 
and  a  come-hither  in  his  eye,  played  by  Reginald 
Denny  in  a  way  both  manly  and  appealing.  Jack 
London  characters  faithfully  reproduced.  This  is  a 
picture  for  everybody.     {July-) 

AFFAIRS  OF  LADY  HAMILTON,  THE— Hod- 
kinson. — Lady  Hamilton  comes  to  a  bad  finish,  but 
her  road  of  life  is  not  tedious  by  any  means.  Rather 
heavy  German  production.     Not  for  children.   (July.) 

ALIAS  THE  NIGHT  WIND— Fox.— A  man  un- 
justly accused,  vanishes.  Pursued  by  detectives,  he 
has  many  hairbreadth  escapes,  and  is  finally  cap- 
tured by  the  blonde  girl  detective.  That's  all.  (Octo- 
ber.) 

ASHES  OF  VENGEANCE— First  National.— One 
of  the  first — and  best — of  the  costume  pictures. 
Norma  Talmadge  and  Conway  Tearle  excellent. 
Should  not  be  missed.      (October.) 

BAVU — Universal. — A  gory  tale  of  Bolshevic 
Russia,  decidedly  artificial.  This  doesn't  apply  to 
Wallace  Beery,  however,  the  double-dyed  villain. 
Flappers  mav  like  the  ultra-heroic  Forrest  Stanley. 
(July.) 

BELLA  DONNA— Paramount.— Pola  Negri's  first 
American-made  picture  does  not  fit  her  as  well  as 
those  tailored  in  Berlin.  Pola  is  more  beautiful  but 
less  moving;  a  passion  flower  fashioned  into  a  poin- 
settia      The  picture  is  thoroughly  artificial.     (June.) 

BLACK  SHADOWS— Pathe—  A  clever  mixture 
of  entertainment  and  instruction.  Views  of  the 
strange  people  of  the  South  Seas  as  they  dance,  swim 
and  play.     Colorful  and  interesting.     (October.) 

BLUEBEARD'S  EIGHTH  WIFE— Paramount  — 
Highly  sophisticated  and  good  entertainment  with 
Gloria  Swanson  wearing  gorgeous  clothes  as  only  she 
can.     Put  it  on  the  preferred  list.      (October.) 

BOSTON  BLACK  IE— Fox.— The  inside  of  the 
world's  most  disagreeable  prison,  with  a  happy  end- 
ing that  arrives  just  in  time.     (August.) 

BRASS— Warner  Brothers. — Not  for  those  who 
read  the  novel  by  Norris.  A  story  which  doesn't 
dare  anything  Harry  Myers  excellent  in  small  role. 
(June.) 

BRASS  BOTTLE,  THE— First  National.— A 
fantastic  picture,  amusing  and  well  done.  Sort  of 
Arabian  Nights  entertainment.  The  Oriental  pro- 
logue is  especially  fine.  Barbara  La  Marr  and  Ernest 
Torrence  in  cast.      (October.) 

BRIGHT  SHAWL,  THE— First  National.— A 
pretty  play  of  distinct  atmospheric  charm,  a  tale  of 
Havana  intrigue  with  Cuban  strugglers  for  liberty  on 
one  side  and  soldiers  of  Spanish  oppression  on  the 
other.  Well  acted  by  Richard  Barthelmess,  Dorothy 
Gish,  Jetta  Goudal  and  William  Powell.      (July.) 

BROADWAY  GOLD— Truart—  A  formula  pic- 
ture of  the  good  little  chorus  girlrforced  into  marriage 
with  a  dying  rich  man.  He  gets  well,  of  course,  caus- 
ing complications.  A  jazz  party  is  well  done.  Just 
fair.      (October.) 

BROKEN  WING,  THE— Preferred.— A  story  of 
Mexico  and  an  American  aviator  who  crashes  through 
a  roof  into  the  arms  of  a  pretty  girl.  Moves  rapidly 
and  is  interesting  throughout.     (September.) 

BUCKING  THE  BARRIER— Fox— Dustin  Far- 
num  beating  up  thugs  who  wouldst  thwart  him  from 
claiming  his  rightful  estates.     (June.) 

BURNING  WORDS— Universal.— The  Canadian 
Mounted,  and  a  trooper  who  gets  his  man.  This  time 
the  man  is  a  brother.     (August.) 

CHILDREN  OF  DUST— First  National.— A 
pleasant  little  story  of  old  Gramcrcy  Square,  but 
with  too  much  childish  love-making.  And  then,  at 
the  end,  the  war  is  dragged  in.    (August.) 

CHILDREN  OF  JAZZ  —  Paramount.  —  A  fast 
story,  unique  plot,  quaint  costumes  and  delightful 
photography.  Altogether,  good  entertainment. 
(September.) 

ir, 


CIRCUS  DAYS— First  National.— Jackie  Coo- 
gan's  new  one.  This  shows  the  lovable  boy  star  at  his 
best  and  funniest.  It  is  all  Jackie,  of  course,  but  none 
the  worse  for  that.     (September.) 

CORDELIA  THE  MAGNIFICENT— Metro  — 
1  tigh  society  with  every  body  blackmailing  everybody, 
even  the  heroine,  who  does  it  unconsciously,  of 
course.     Badly  adapted   story.      (July.) 

CRASHING    THROUGH— F.    B.    O.— Not    so 

bad — not  so  good.   A  Harry  Carey  jumble  of  heroics. 

(June.) 

CRITICAL  AGE,  THE— Hod kinson.— Another 
Ralph  Connor  Glengarry  story,  well  told.  Lacking 
in  the  original  force  and  spiritual  element.    (July.) 

CROSSED  WIRES— Universal.— And  yet  another 
little  Cinderella.  She  prefers  sassity  to  the  switch- 
board, and  she  achieves  her  heart's  desire,  not  with- 
out some  heart-throbs  and  much  laughter.     (July.) 


AS  a  special  service  to  its  readers, 
Photoplay  Magazine  inaug- 
urated this  department  of  tab- 
loid reviews,  presenting  in  brief  form 
critical  comments  upon  all  photoplays 
of  the  preceding  five  months. 

Photoplay  readers  find  this  depart- 
ment of  tremendous  help — for  it  is  an 
authoritative  and  accurate  summary, 
told  in  a  few  words,  of  all  current  film 
dramas 

Photoplay  has  always  been  first 
and  foremost  in  its  film  reviews. 
However,  the  fact  that  most  photo- 
plays do  not  reach  the  great  majority 
of  the  country's  screen  theaters  until 
months  later,  has  been  a  manifest 
drawback.  This  department  over- 
comes this — and  shows  you  accurately 
and  concisely  how  to  save  your  mo- 
tion picture  time  and  money. 

You  can  determine  at  a  glance 
whether  or  not  your  promised  eve- 
ning's entertainment  is  worth  while. 
The  month  at  the  end  of  each  tabloid 
indicates  the  issue  of  Photoplay  in 
which  the  original  review  appeared. 


CUCKOO'S  SECRET,  THE— Bray.— They  say  it 
took  ten  years  to  get  this  picture  of  the  world's  laziest 
bird.  It  is  remarkably  interesting  and  instructive. 
(September.) 

DAUGHTERS  OF  THE  RICH  —  Preferred.  — 

High  society,  American  heiress,  decadent  Russian 
duke  and  so  on.  Some  novelty,  but  not  much  punch 
Some  of  the  settings  are  beautiful.      (September.) 

DAYS  OF  DANIEL  BOONE,  THE— Universal.— 
A  serial  wit  It  much  interesting  and  historical  value. 
Plenty  of  adventure  and  witli  many  surprisingly  real 
characters.      (September.) 

DESERT  DRIVEN— F.  B.  O.— The  best  picture 
Harry  Carey  has  made  for  a  long  time.  It  starts  in 
prison  and  ends  in  the  desert  after  many  adventures 
and  a  good  love  story.     (September.) 

DEAD  GAME— Universal.— Hoot  Gibson  does 
some  hard  riding  and  fast  thinking.    (July.) 

DIVORCE— F.  B.  O.— Jane  Novak  is  so  beautiful, 
in  this,  that  nothing  else  matters.  Not  even  the  plot. 
{.August.) 


DON  QUICKSHOT  OF  THE  RIO  GRANDE— 

Universal. — A  western  that  should  have  been  a  com- 
edy.   The  small  boy's  delight.     (August.) 

DON'T  MARRY  FOR  MONEY— Apollo.— Still 
the  formula — and  this  time  an  old  one.  This  one 
used  to  work  out,  but  picture  patrons  are  wiser  now- 
adays.   Just  a  programme  film,  that's  all.     (October.) 

DOUBLE  -  DEALING  —  Universal.  —  A  stupid 
young  man  buys  property  of  a  confidence  man,  and 
of  course  the  property  assumes  a  great  value.  Other- 
wise how  could  it  all  end  so  happily?     (July.) 

ELEVENTH  HOUR,  THE— Fox.— Roaring  melo- 
drama for  the  youngsters,  Shirley  Mason  sharing 
starring  honors  with  Charles  Jones.  Everyone  who 
likes  adventure  will  enjoy  it.     (October.) 

ENEMIES  OF  WOMEN— Paramount-Cosmo- 
politan.— An  Ibanez  romance  filmed  in  Paris  and 
Monte  Carlo,  decorated  by  Urban,  dressed  by  Poiret 
and  girled  by  Ziegfeld.  A  million  dollars'  worth  of 
beauty,  including  Alma  Rubens,  and  superb  acting 
by  Lionel  Barrymore.     (June.) 

EXCITERS,  THE— Paramount.— A  jazzy  little 
comedy-melodrama  with  plenty  of  action  and  speed. 
Tony  Moreno  and  Bebe  Daniels  at  their  best.  Good 
entertainment.      (August.) 

FIGHTING  BLOOD— (Second  Series)— F.  B.  O. 

— Prize  fight  stuff,  of  course,  with  a  new  and  blonde 
leading  woman  for  the  O'Hara  boy.  About  the  usual 
prize  ring  serial.      (October.) 

FLYING  DUTCHMAN,  THE— F.  B.  O.— An  un- 
usual picture  which  follows  very  closely  the  Wag- 
nerian opera  of  that  name.  The  tragic  legend  is  well 
told  and  photographed,  with  Ella  Hall  doing  good 
work.     (October.) 

FOG,  THE — Metro.— A  story  of  small-town  ethics 
with  the  "how  his  soul  was  saved"  angle  played  up. 
The  cast  is  good,  but  the  direction  poor.     (September.) 

FOG  BOUND— Paramount.— One  of  the  formulas. 
Innocent  man  accused — lovely  lady  saves  him.  Good 
cast,  fine  photography,  Palm  Beach  settings,  and 
conventional  ending.      (August.) 

FOOLS  AND  RICHES— Universal.— The  hand- 
some hero  and  his  money  are  soon  parted,  but  being 
a  hero  he  wins  another  fortune,  and  being  handsome 
wins  the  girl.      (July.) 

FOURTH    MUSKETEER,    THE— F.    B.    O  — 

Johnnie  Walker  at  his  best  as  a  young  prize-fighter 
who  gives  up  certain  championship  for  the  little  wife. 
(June.) 

GARRISON'S  FINISH— United  Artists.— The 
old,  hackneyed  race  track  story,  with  the  Southern 
colonel,  the  doped  horse  'n'  everything.  Jack  Pick- 
ford  has  the  lead.     Race  scenes  the  best.     (August.) 

GENTLEMAN  OF  LEISURE,  A— Paramount.— 
The  story  drags  at  the  start,  but  picks  up  speed  and 
becomes  rapid  and  interesting.  Jack  Holt  is  fea- 
tured, but  the  best  acting  is  by  Frank  Nelson  as  a 
burglar.     Above  the  average.      (October.) 

GIRL  I  LOVED,  THE— United  Artists.— We 
recommend  this  without  a  single  qualification  to  the 
entire  family.  It  deserves  your  attention.  A 
fragile  wistful  little  lyric  inspired  by  J.  Whitcomb 
Riley's  poem  of  a  country  boy  who  loves  his  foster 
sister.  Ray  gives  one  of  the  best  performances  of 
the  screen  year,  superb  in  its  humanness  and  tender- 
ness.    We  cannot  recommend  it  too  highly.     (July.) 

GIRL  OF  THE  GOLDEN  WEST,  THE— First 

National. — Another  return  engagement,  but  the  fine 
old  story  marred  by  difficulties  of  casting.  Warren 
Kerrigan  and  Sylvia  Breamer  the  leads.     (August.) 

GIRL  WHO  CAME  BACK,  THE— Preferred  — 

The  dear  girl  doesn't  come  back,  really,  but  she  does 
get  diamonds  and  two  husbands.  So  everybody's 
.happy,  unless  possibly  the  audience.     (July.) 

GLIMPSES  OF  THE  MOON,  THE— Paramount 
— Beautiful  sets,  beautiful  gowns  and  oh,  such 
beautiful  ladies!  In  a  word,  an  eyeful.  But  nothing 
much  for  the  heart.     (June.) 


Photoplay  Magazine — Advertising  Section 


17 


^ A  Romance  of theJlfrkan  Veldt 
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ssgy* 


«V 


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ISS  me!  Kiss  me!" 
whispered  Love-a- 
little  Loochia.  But  Desmond 
pushed  her  soft,  clinging  arms 
away,  thinking  of  a  man  Hell- 
bent for  destruction  because 
of  a  woman's  falsity  —  and 
Ponjola — a  man  she  loved. 
For  Desmond  was  a  woman, 
in  masquerade — a  good  look- 
ing youth  whom  men  accepted 
as  one  of  them  and  women 
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fearless,  insolent  tongue. 


U 


PON  J  OLA 

«x,it\.  James  CKirtewaod 

'Anna,  Q.TSTUsson  and. 
TxdiyJAax shall  *w 

Adapted  from  the  story       /"  ~"\ 
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Photoplay  Magazine — Advertising  Section 


'(Slender  at  I^t  I 


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Neutroids,  the  prescription  developed 
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on  |..i;'i-  live,  below  contents. 


GO-GETTER,  THE— Paramount-Cosmopolitan. 
— The  Go-Getter  has  lost  much  of  his  pep  passing 
from  magazine  to  screen,  but  it  is  a  pleasant,  well- 
round  narrative  for  a'  that.     {July.) 

GREEN  GODDESS,  THE— Distinctive.— George 

Arliss  in  a  screen  version  of  his  famous  play,  which  is 
as  good  as  the  stage  version.  One  of  the  best  of  the 
season.     {October.) 

ORUB  STAKE,  THE— American  Releasing  Cor- 
poration.— Fifty-seven  varieties  of  woodland  crea- 
tures, ranging  in  styles  from  bears  to  porcupines. 
Also  Nell  Shipman.    A  unique  forest  picture.    (June.) 

GRUMPY — Paramount. — A  superb  character- 
ization  by  Theodore  Roberts.      (June.) 

HEART  RAIDER,  THE— Paramount.— Jazzy 
and  often  amusing,  with  Agnes  Ayres  setting  the 
pace.  An  unbelievable  story,  but  set  in  beautiful 
surroundings.     (.-1  itgust.) 

HELL/S  HOLE— Fox.— Straight  Western  melo- 
drama  with  Lefty  Flynn  and  Charles  Jones  as  cow- 
puncher  buddies.  Excitement  is  fast  and  furious. 
Good  entertainment  and  a  trick  ending.     (October.) 

HOLLYWOOD— Paramount. — Dozens  of  the  pic- 
ture stars  shown  unconventionally  to  prove  they  are 
just  humans  after  all.  A  rattling  good  picture,  with 
lots  of  laughs  and  interest.     (October.) 

HER    FATAL    MILLIONS— Metro.— A    swiftly 

moving  comedy  of  a  girl's  fibs — Viola  Dana's— to  a 
suitor  whom  she  believes    faithless.      (July.) 

HOMEWARD  BOUND— Paramount.— Thomas 
Meighan  as  a  salty  hero  in  a  lot  of  storms.  Story  is 
unconvincing  and  commonplace,  and  there  is  never 
any  doubt  that  Thomas  will  embrace  Lila  Lee  at  the 
close.     (October.) 

HUMAN  WRECKAGE— F.  B.  O—  Mrs.  Wallace 
Reid's  film  protest  against  the  drug  evil.  Not  a 
cheery  story,  but  one  that  will  touch  the  heart  and 
may  do  an  immense  amount  of  good.      (September.) 

ISLE  OF  LOST  SHIPS,  THE— First  National.— 
A  fantastic  romance  of  derelicts  in  the  Sargasso  Sea, 
screened  with  imagination  by  Tourneur.     (June.) 

ITCHING  PALMS— F.  B.  O.— Melodrama,  stupid 
and  badly  told.      (September.) 

LAWFUL  LARCENY— Paramount.— Most  of  the 
interest  is  in  the  production  which  is  extremely  lavish. 
Story  is  weak,  but  most  of  the  acting  is  competent. 
Fairly  good  entertainment.      (October.) 

LAW  OF  THE  LAWLESS,  THE— Paramount.— 
A  colorful  drama  of  the  gypsy  borderland  between 
Asia  and  Europe,  with  Dorothy  Dalton  and  Charles 
De  Roche  in  suitable  roles.      (September.) 

LEGALLY  DEAD— Universal.— Theatrically  un- 
leavened, with  adrenalin  used  to  bring  a  dead  man  back 
to  life.  Not  so  much,  except  for  the  acting  of  Milton 
Sills.      (October.) 

LEOPARDESS,  THE— Paramount.— Montague 
Love  tries  taming  Alice  Brady,  a  wild  gal  of  the  South 
Seas.  He  also  tries  to  tame  a  leopardess — and  gets 
tamed  most  effectively.  The  leopardess  should  have 
ended  matters  in  the  first  reel.      (June.) 

LION'S  MOUSE,  THE— Hodkinson.— Blackmail, 
robbery,  hairbreadth  escapes,  the  papers  and  the 
poils!     But  entertaining  for  a'  that.     (June.) 

LITTLE  CHURCH  AROUND  THE  CORNER, 

THE — Warner  Brothers. — A  situation  after  the 
manner  of  "The  Miracle  Man,"  with  a  wealthy  mine 
owner,  a  mine  disaster  and  a  minister.     (June.) 

LITTLE  JOHNNY  JONES— Warner  Brothers.— 
Johnny  Hines  is  very  good  in  this  George  M.  Cohan 
success.  Realistic  sets  and  a  good  horse  race  help  a 
lot.  Several  novelties.  Good  entertainment.  (Octo- 
ber.) 

LITTLE  OLD  NEW  YORK— Cosmopolitan.— A 
charming  picture  witli  Marion  Davies  doing  the  best 
acting  of  her  career.  Well  acted,  beautifully  staged 
and  competently  directed.     (October.) 

LOST  AND  FOUND  —  Goldwyn.  —  Hollywood 
hokum  dropped  in  the  South  Seas.  A  beautiful  back- 
ground and  good  players  wasted.     (June.) 

LOST  IN  A  BIG  CITY— Arrow.— Action  all  the 
time.  The  story  doesn't  amount  to  much,  but  there 
is  so  much  going  on,  you  don't  mind  that.  A  formula 
picture,  but  a  good  formula.     (October.) 

LOVEBOUND— Fox.— A  well-knit,  consistent 
story,  with  strong  climaxes,  of  a  district  attorney  who 
falls  in  love  with  his  secretary.  The  girl's  father  is  a 
jewel  thief,  and  the  conflict  between  her  loyalty  to 
father  and  love  for  prosecutor  is  well-developed. 
Shirley  Mason  draws  sympathy.     (July.) 

LOVE  BRAND,  THE— Universal.— Spanish  ranch 
owner,  gang  of  crooked  capitalists,  beautiful  daughter 
of  rich  man  loves  rancher,  and  plot  fails.  All  right, 
if  you  like  that  kind.     (October.) 

LOVE  PIKER,  THE— Cosmopolitan-Goldwyn.— 
Anita  Stewart  in  the  old  tale  of  the  girl  who  loves  her 
father's  employee.  A  good  story,  with  Miss  Stewart 
doing  some  fine  acting.     {September.) 


Play  PIANO  By  Ear 


No  matter  how  little  you  know  about  music, 
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*9 


LOYAL  LIVES — Vitagraph. — Propaganda  for  the 
letter  carrier.  A  simple  story,  filled  with  pleasant 
hokum  and  kindly  folk.  Mary  Carr  excellent.  Clean 
and  interesting.      (October.) 

MADNESS  OF  YOUTH— Fox.— An  engaging 
crook  enters  a  home  to  rob  a  safe,  meets  the  daughter 
of  his  victim,  etc.  Marriage  and  honor  in  the  end. 
John  Gilbert  is  sincere  and  with  Billie  Dove  makes 
the  affair  almost  plausible.      (July.) 

MAIN  STREET— Warner  Brothers.— A  difficult 
story  to  screen  and,  therefore,  not  an  entirely  satis- 
factory picture.  Starts  off  well,  but  slumps  at  the 
end.  Florence  Vidor  the  great  redeeming  feature. 
(August.) 

MAN  FROM  GLENGARRY,  THE— Hodkinson. 
— Ralph  Connor's  erstwhile  best-seller  has  suffered 
in  the  screening,  but  the  logging  scenes  are  fine  and 
the  Canadian  landscapes  impressive.     (June.) 

MAN  NEXT  DOOR,  THE— Vitagraph.— Not 
good.  Story  is  illogical,  and  acting  and  direction  both 
below  standard.     A  dog  wins  the  honors.     (August.) 

MAN  OF  ACTION,  A— First  National.— Likable 
Douglas  MacLean  as  a  society  man  playing  a  crook. 
Interesting,  but  incongruous.  Perhaps,  some  day, 
M.icLean  will  get  a  real  story.  Then,  look  out. 
(August.) 

MARK     OF     THE     BEAST,    THE— Dixon  — 

Thomas  Dixon  wrote,  cast  and  directed  this  as  a 
challenge  to  "machine-made  pictures."  The  ma- 
chine wins.      (August.) 

MARY  OF  THE  MOVIES— F.  B.  O.— Again  the 

Hollywood  stars  trailing  by  in  a  story  of  a  screen- 
struck  girl.  That  is  the  only  interest.  The  story  is 
weak.     (August.) 

MASTERS  OF  MEN— Vitagraph.— Well-done 
story  of  the  Spanish-American  war.  Cullen  Landis 
fine.  Earle  Williams,  Alice  Calhoun  and  Wanda 
Hawley  in  the  cast.     (June.) 

McGUIRE  OF  THE  MOUNTED— Universal.— 

Another  Northwest  Mounted  Police  story,  with  the 
usual  dauntless  hero.  Plenty  of  action  and  interest- 
ing to  those  who  like  these  stories.     (September.) 

MERRY-GO-ROUND— Universal.— One   of   the 

best  pictures  in  months.  A  Viennese  story,  with  the 
atmosphere  capitally  maintained,  and  exceptionally 
well  acted.     (September.) 

MICHAEL  O'HALLORAN  —  Hodkinson.  —  The 
too-sweet  story  of  a  Chesterfieldian  street  urchinv 
who  shows  a  lot  of  rich  folk  how  to  behave.    (A  ugust.) 

MIRACLE  BABY,  THE— F.  B.  O.—  Not  much 
miracle,  but  a  nice  baby.  Harry  Carey  up  in  the  gold 
mines,  a  murder,  a  false  accusation  and,  finally,  vin- 
dication.    Formula  again.     (October.) 

MODERN  MARRIAGE  —  American  Releasing 
Corporation. — The  team  of  Beverly  Bayne  and 
Francis  X.  Bushman  return  in  a  commonplace  story 
smoothly  screened.    (June.) 

MOTHERS-IN-LAW— Gasnier. — Many  dresses 
cut  short,  top  and  bottom,  jazz  parties,  lots  of  glitter 
■ — the  usual  thing.  Not  highly  recommended.  (Octo- 
ber ) 

MYSTERIOUS  WITNESS,THE— F.B.O.— More 
formula  stuff.  The  sweet  and  ailing  mother,  the  self- 
sacrificing  son  and  the  rest  of  it.  Sickeningly  sweet. 
(September.) 

NE'ER-DO-WELL,  THE— Paramount.    —    Not 

altogether  successful,  nor  altogether  uninteresting, 
for  Thomas  Meighan  is  in  it.    Old-fashioned.    (July.) 

NOBODY'S  BRIDE— Universal. — A  runaway 
bride,  a  down-and-out  suitor  of  other  days,  a  bag 
of  jewels,  a  band  of  crooks,  etc.,  etc.     (June.) 

NOISE  IN  NEWBORO,  A— Metro.— Cinderella  of 
the  small  town  goes  to  the  city  and  comes  home  rich. 
Viola  Dana  gingers  up  this  weak  concoction.     (July.) 

NTH  COMMANDMENT,  THE  — Paramount- 
Cosmopolitan. — The  brave  little  girl  struggles  to 
maintain  her  home  when  her  husband  falls  desperate- 
ly ill.     The  human  note  is  missing.     (July.) 

OLD  SWEETHEART  OF  MINE,  AN— Metro.— 
J.  Whitcomb  Riley's  poem  screened  with  considerable 
charm  and  touches  of  melodrama.      (July.) 

ONLY  38 — Paramount. — A  delightful  handling  by 
William  de  Mille  of  a  most  appealing  story.  Lois 
Wilson's  role  fits  her  admirably,  and  May  McAvoy  is 
a  great  help.     (August.) 

OUR  GANG  COMEDIES—  Pathe—  One  hundred 
per  cent  kid  stuff — for  the  whole  family.  Don't  miss 
Little  Farina,  age  two,  colored.     (June.) 

OUT  OF  LUCK— Universal. — Hoot  Gibson  as  a 
young  cowpuncher  transferred  to  the  navy  creates  a 
lot  of  fun.  There  are  many  laughs  and  mucii  excite- 
ment.    Good  entertainment.     (October.) 

PENROD  AND  SAM— First  National.— One  of 
the  entertainment  gems  of  the  month.  Real  boys 
with  a  story  handled  by  William  Baudine,  who  re- 
members that  he  was  once  a  boy.  Don't  miss  it  if 
you  enjoy  kids.     (August.) 


PREFERRED 
PICTURES 


Bringing  Great  Books 
and  Plays  to  Life 

IN  the  back  of  your  mind  linger  the 
memories  of  mighty  deeds  and 
throbbing  loves — the  things  that 
make  up  great  books  and  great  plays. 

Upon  such  stories  are  Preferred  Pic- 
tures built. 

The  men  who  founded  Preferred  Pic- 
tures believe  that  no  photoplay  can 
give  the  maximum  of  entertainment; 
no  star,  no  cast,  can  put  forth  the 
best  that  is  in  them,  unless  the  story 
is  right. 

You  received  the  first  Preferred  Pic- 
tures and  proclaimed  them  a  success. 

Now  comes  "THE  VIRGINIAN," 

a  Tom  Forman  Production,  made  from 
the  immortal  novel  and  play. 

Under  the  spell  of  color,  action  and  setting 
such  as  only  the  moving  picture  makes  pos- 
sible— you  can  live  it  yourself  with  Trampas, 
with  Molly,  Steve  and  "The  Virginian,"  the 
greatest  western  character  ever  given  to  lit- 
erature. 

Kenneth  Harlan  heads  the  Preferred  Cast, 
which  includes  such  noted  actors  as  Florence 
Vidor,  Russell  Simpson,  Pat  O'Malley  and 
Raymond  Hatton. 

Preferred  Pictures  are  shown  in  your  city.  Call 
up  your  favorite  theatre  and  ask  "When?" 

Distributed  by 

PREFERRED 

AL  LICHTMAN,  "President 


PREFERRED 
PICTURES 

'•Produced  by 

B.  P.  SCHULBERC 

Coming 
'The  Virginian" 

from  the  play  and  novel  by 
OwenWisterand  KirkeLaShellc 

'April  Showers" 

by  Hope  Loring  and  Louis  D. 
Lighton. 

'Maytime" 

from  the  play  by 
Rida  Johnson  Young. 

"The  Boomerang" 

from  the  play  by 

Winchell  Smith  andVictorMapes 

"White  Man" 

from  the  novel  by 

George  Agnew  Chamberlain. 

'Poisoned  Paradise" 

from  the  novel  by 
Robert  W.  Service. 

"When  a  Woman 

Reaches  Forty" 

by  Royal  A.  Baker. 

"The  Mansion  of 

Aching  Hearts" 

by  Harry  Von  Tilzer  and  Arthur 
J.  Lamb. 

"The  Breath  of  Scandal" 

from  the  novel  by 
Edwin  Balmer. 

"The  First  Year" 

from  the  play  by 
Frank  Craven. 

"The  Triflers" 

from  the  novel  by 
Frederick  Orin  Bartlett. 

"Faint  Perfume" 

from  the  novel  by 
Zona  Gale. 

"My  Lady's  Lips" 

by  Olga  Printzlau. 

''HPJV  SHOWING 

"The  Broken  Wing" 
"Mothers-  in-Law" 
"Daughters  of  the  Rich" 
"The  Girl  Who  Came  Back" 
"Are  You  a  Failure?" 
"Poor  Men's  Wives" 
"The  Hero" 
"Thorns  and 

Orange  Blossoms" 
'Shadows" 

Rich  Men's  Wives" 


PICTURES    CORP. 


1650  Broadway,  New  York 


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Studio  Directory 

For  the  convenience  of  our  readers 
who  may  desire  the  addresses  of  film 
companies  we  give  the  principal  active 
ones  below.  The  first  is  the  business 
office;  (s)  indicates  a  studio;  in  some 
cases  both  are  at  one  address. 

ASSOCIATED  FIRST  NATIONAL  PICTURES, 
i)  West  48th  Street,  New  York  City. 

Richard  Barthelmesa  Productions,  Inspiration 
Pictures,  5G5  Fifth  Avenue,  New  YorkClty. 
Edwin  Carewe  Productions,  Associated  First 
Nat'l  Pictures,  619  Pacific  Finance  Bldu 
Eos  Angeles,  Calif. 
Allen    Holubar    Productions,    Union    Leasue 
Bldg..  Third  and  Hill  Streets,  Los  Aniiclcs 
Calif. 
Thomas  H.   Ince  Productions,  Ince  Studios 

Culver  City,  Calif. 
John   M.    Staid   Productions.    Mayer  Studio 

iSOO  Mission  Itoad.  I.os  Alludes,  Calif 
Norma  and  Constance  Talmadce  Productions 

United  Studios,  Hollywood,  Ca'if. 
Maurice  Tourneur  Productions,  United 

Studios.  Hollywood,  Calif. 
Laurence  Trimble-Jane  Murfln   Productions 
Associated    First   Nat'l   Pictures,   6   West 
48th  Street,  New  York  City. 
Louis  Mayer  Productions,  3S00  Mission  Road, 

Los  Angeles,  Calif. 
Richard    Walton   Tully   Productions,    United 
Studios,  Hollywood,  Calif. 
EDUCATIONAL    FILMS    CORPORATION,    370 
Sevcntn  Avenue,  New  York  City. 

Christie  Comedies,    Christie  Film   Co  ,   Inc 
Sunset  at  Gower  St.,  Los  Angeles,  Calif. 
Hamilton  Comedies,  Lloyd  Hamilton  Corp., 

5341  Melrose  Avenue,  Hollywood,  Calif 
Mermaid  Comedies.  Jack  White  Corp.,  5341 
Melrose  Avenue,  Hollywood,  Calif. 
FAMOUS     PLAYERS-LASKY     CORPORATION 
(PARAMOUNT),  485  Fifth  Avenue,  New  York 
City. 

(s)   Paramount.   Pierce  Ave.   and   Sixth   St 

Long  Island  City,  N.  Y, 
(s)   Lasky,  Hollywood,  Calif. 
British  Paramount,   (s)   Poole  St.,  Islington 

N.  London.  England. 
Wm.    S.    Hart   Productions,    (s)    1215   Bates 
Street,  Hollywood,  Calif. 
FOX   FILM   CORPORATION,    (s)    10th  Ave.  and 
5oth  St.,  New  Y'ork  City,   (s)    1401  N.  Western 
Ave.,  Los  Angeles,  Calif,     (s)  Rome,  Italy. 
GOLDWYN    PICTURES    CORPORATION     469 
Fifth  Avenue,  New  York  City;  (s)  Culver  City 
Calif.     Maishali    Neilan,    King    Vidor    Produc- 
tions and  Hugo  Ballin  Productions. 

International  Films,  Inc.  (Cosmopolitan  Pro- 
ductions), 729  Seventh  Avenue,  New  Y'ork 
City;   (s)   Second  Avenue  and   127th  St 
New  York  City. 

W.  W.  HODKINSON  CORPORATION,  469  Fifth 

Avenue,  New  Y'ork  City. 
MASTODON  FILMS,  INC.,  C.  C.  Burr,  135  West 

44th  Street,  New  York  City;  (s)  Glendale,  Long 

Island. 

METRO  PICTURES  CORPORATION  1540 
Broadway,  New  Y'ork  City;  (s)  Romaine  and 
Cahuenga  Avenue,  Hollywood,  Calif. 

Tiffany    Productions,    1540   Broadway.    New 

York  City. 
Buster  Keaton  Productions,   Keaton  Studio 

1205  Lillian  Way,  Hollywood,  Calif. 
Jackie   Coogan,    United  Studios,   Hollywood 
Calif. 

PALMER  PHOTOPLAY  CORPORATION,  Palmer 

Bldg.,    Hollywood.    Calif..    Producing    at    Thos 

H.  Ince  Studios.  Culver  City,  Calif. 

PATHE  EXCHANGE.  Pathe  Bldg.,  35  West  45th 

Street,  New  York  City;  (Associated  Exhibitors). 

Charles     Ray     Productions.     1428     Fleming 

Street,  Los  Angeles,  Calif. 
Hal    E.    Roach    Studios,    Inc.,    Culver    City 

Calif. 
Ruth  Roland  Serials,  United  Studios,  Holly- 
wood, Calif. 
Mack    Sennett    Comedy    Productions,    Los 
Angeles,  Calif. 

PREFERRED  PICTURES,  1650  Broadway  New 
York  City;  (s)  Mayer-Schulherg  Studio.  3800 
Mission  Road,  Los  Angeles,  Calif.  Tom  Forman 
Victor  Schertzinger  and  Louis  J.  Gasnier  Pro- 
ductions. 

PRINCIPAL  PICTURES  CORPORATION,  1540 
Broadway.  New  York  City;  (s)  7200  Santa 
■   Monica  Blvd.,  Los  Angeles,  Calif. 

R-C  PICTURES  CORPORATION,  723  Seventh 
Avenue,  New  York  City;  (s)  Corner  Gower  and 
Melrose  Streets,  Hollywood,  Calif. 

ROTHACKER  FILM  MFG.  COMPANY,  1339 
Diverscy  Parkway,  Chicago,  Illinois;  Rothacker- 
Aller  Laboratories,  Inc.,  Hollywood,  Calif. 

UNITED  ARTISTS  CORPORATION,  729  Seventh 
Avenue.  New  York  City. 

George  Arliss  Productions.  Distinctive  Prod  , 

366  Madison  Avenue,  New  York  City 
Rex  Beach  Productions,  United  Artists  Corp  , 

729  Seventh  Avenue,  New  York  City. 
Charlie  Chaplin  Studios,   1416  LaBrea  Ave 

Hollywood.  Calif. 
D.     W.     Griffith     Studios,     Orienta     Point 

Mamaroneck,  N.  Y. 
Jack  Pickford.  Mary  Pickford  Studio,  Holly- 
wood. Calif. 
Mary     Pickford     and     Douglas     Fairbanks 
Studio,  Hollywood,  Calif. 
UNIVERSAL     FILM     MFG.     COMPANY,     1600 
Broadway.  New  York  City;   (s)  Universal  City, 
Calif. 

Century  Comedies,  Circle  Blvd.,  Hollywood, 

Calif. 

VITAGRAPH     COMPANY    OF    AMERICA,     (s) 

East  15th  Street  and  Locust  Avenue,  Brooklyn, 

New  York;  (s)  1708  Talmadge  Street,  Hollywood, 

Calif. 

Whitman    Bennett    Productions,    537    River- 
dale  Ave.,  Yonkers,  New  York. 
WARNER  BROTHERS,  1600  Broadway,  New  York 
City:  (s)  Sunset  Blvd.  at  Bronson,  Los  Angeles, 
Calif. 


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Photoplay  Magazine — Advertising  Section 


Easy  Way  to  Take  Off 


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PETER  THE  GREAT  —  Paramount.—  Another  ! 
foreign  film,  with  that  truly  great  actor,  Emil  Jan- 
nings,  in  the  title  role.    This  is  a  real  picture  and  one 
that  should  not  be  missed.      (September.) 

PRODIGAL  DAUGHTERS  —  Paramount.  — 
Another  tirade  against  the  jazz  babies  of  1023.  This 
time  it  is  adapted  to  the  girl  who  leaves  the  old  home- 
stead only  to  return  in  the  snowstorm  of  Christmas- 
time.     (July.) 

PRODIGAL  SON,  THE  —  Stoll  Film  Corp.  — 
Steeped  in  the  gloom  of  church  yards  and  death- 
beds, lost  loves  and  debts.      {July.) 

PURPLE     HIGHWAY,    THE  — Paramount.  — 

Rather  a  silly  plot  with  overdrawn  situations.  Madge 
Kennedy  is  sweet  as  a  little  housemaid  and  is  mostly 
wasted.     Tiresome  picture.     (October.) 

QUEEN  OF  SIN,  THE— Not  sinful  but  awful. 
The  queen's  sin  is  weight.     (June.) 

QUICKSANDS— American  Releasing  Corpora- 
tion.— Drug  smuggling  across  the  Mexican  border  is 
stopped  by  Lt.  Richard  Dix  and  Helene  Chadwick 
of  the  Secret  Service.      (June.) 

RAGGED  EDGE,  THE— Goldwyn.— A  Harold 
McGrath  romance,  with  a  lot  of  new  blood  in  the  cast. 
From  China  to  the  South  Seas.     (August.) 

RAILROADED — Universal. — A  lesson  in  how 
wayward  sons  should,  and  should  not,  be  disciplined. 
Love  finds  a  way.     (August.) 

RAPIDS,  THE  —  Hodkinson.  —  A  conventional 
story  of  the  building  of  a  town  by  a  man  with  brains 
and  foresight.  The  steel  plant  scenes  are  excellent. 
(September.) 

RED  RUSSIA  REVEALED— Fox.— Half  scenic 
and  half  educational.  Shows  the  heads  of  Soviet 
Russia,  a  revolting  group,  but  worth  study. 
(September.) 

REMITTANCE  WOMAN,  THE— F.  B.  O—  Ethel 
Clayton's  loveliness  shines  out  from  the  dim  and 
mystic  East,  where  Ethel  gains  a  sacred  vase  and 
nearly  loses  her  life.     (July.) 

RICE  AND  OLD  SHOES— F.  B.  O—  A  comedy  of 
the  honeymoon,  with  all  the  old  situations  worked 
overtime.     (August.) 

RUPERT  OF  HENTZAU— Selznick.— A  lively, 
romantic  tale,  with  lots  of  excitement  and  thrills,  but 
far  behind  its  Anthony  Hope  predecessor,  "The 
Priooner  of  Zenda."     (September.) 

RUSTLE  OF  SILK,  THE— Paramount.— The 
triangle  of  a  British  statesman,  his  unfaithful  wife 
and  an  adoring  lady's  maid,  who  loves  the  statesman 
from  afar,  isn't  much  of  drama.  But  told  with  fine 
taste  and  discretion.  Betty  Compson,  Anna  Q. 
Nilssotj  and  Conway  Tearle  excellent.     (July.) 

JSAFETY  LAST— Pathe  —  Harold  Lloyd's  best- 
seven  reels  that  speed  like  two.  Prepare  for  laughter, 
shrieks  and  general  hysteria.     (June.) 

SAWDUST  —  Universal.  —  Unconfined  realism, 
starting  with  a  circus  and  ending  up  in  one  of  those 
palatial  homes  and  an  attempted  suicide.  (September.) 

SELF-MADE  WIFE,  THE— Universal.— Three. 
fourths  of  this  picture  is  good.  The  end  falls  badly. 
Also  unnecessarily,  just  to  work  in  a  jazz  party. 
(September.) 

SHADOWS— Preferred  Pictures.— An  idea  of  deli- 
cacy and  charm  has  been  translated  with  great  care 
to  the  screen  and  the  result  is  a  good  picture.  Tom 
Forman's  direction  of  Wilbur  Daniel  Steele's  prize 
story  "Ching,  Ching,  Chinaman"  is  as  inspired  as 
possible  in  view  of  the  fact  that  there  are  censors. 
The  central  figure,  the  Oriental  laundryman,  remark- 
ably acted  by  Lon  Chaney,  is  a  fine  and  true  con- 
ception.    (January.) 

SHADOWS  OF  THE  NORTH— Universal.— 
William  Desmond  as  a  miner  who  fights  off  claim 
jumpers.  Happy  ending,  after  a  good  fight  and  some 
great  shots  of  a  canoe  in  the  rapids.  Fast  melodrama. 
(October.) 

SHOCK,  THE— Universal.— Another  hideously 
dever  characterization  by  Lon  Chaney  as  a  cripple  of 
the  underworld.  The  miracle  idea  is  brought  in 
again.  Strong,  but  unpleasant — and,  of  course,  with 
a  happy  ending.     (August.) 

SHOOTIN'  FOR  LOVE— Universal.— Shell  shock 
Is  the  underlying  theme  of  a  swift  Western.  The  hero, 
back  from  the  war,  walks  into  a  feud  which  is  fully  as 
exciting.     (September.) 

SHORT  SUBJECTS  —  Educational.  —  One  and 
two-reel  novelties,  grouped  together  in  interesting  bill. 
"Kinograms,"  a  Bruce  scenic,  "Speed  Demons," 
Gene  Sarazen  demonstrating  golf,  and  two  comedies. 
(September.) 

SINGLE  HANDED— Universal.— Hoot  Gibson  as 
an  eccentric  musician  who  discovers  a  buried  treasure. 
Hoot'    better  at  handling  bosses.     (June.) 

SIXTY  CENTS  AN  HOUR— Paramount.— An 
ambitious  soda  clerk  plans  to  marry  the  daughter  of 
the  bank  president,  and  go  into  business — all  on 
seven-fifty  a  week.     A  riot  of  laughter.      (July.) 


Thousands  Can  Draw 

CARTOONS 

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AGENTS    AND    SALESMEN 


WE  START  YOC  WITIIOFT  A  1)1)1. I.Alt.  SOATS. 
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'•Sill  A  DAY  AM)  MOKE,"  OIK  NEW  BOOK, 
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MAKE      $25      TO      $50      WEEK       REPRESENTING 

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J60-J200    A     WEEK.       GENUINE    GOLD    LETTERS 

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STAKT    TOTJR  OWN    BUSINESS    AS    OCR    SOLE 

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Va. 


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$8  TO  $15  DAILY  EASY— INTKODI  (TNG  NEW 
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SALESMEN:  DO  YOU  WANT  TO  MAKE  REAL 
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Big  seller  14  years.  Scores  making  up  to  $30  daily. 
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Fail  field,    Iowa. 


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WOMEN  TO  SEW.  GOODS  SENT  PREPAID  TO 
your  door;  plain  sewing;  steady  work:  no  canvassing; 
send  stamped  envelope  for  prices  paid.  Universal  Com- 
pany.   Dept.    21.    Philadelphia.    Pa.  


DETECTIVES  EARN  BIG  MONEY.  EXCELLENT 
opportunity.  Experience  unnecessary.  Particulars  free. 
Write.  American  Detective  System,  1968  Broadway, 
New    York.  


EARN  MONEY  AT  HOME  DURING  Sl'ARE  TIME 
painting  lamp  shades,  pillow  tops  for  us.  No  can- 
vassing. Easy  and  interesting  work.  Experience  un- 
necessary,    Nileart  Company,  2220,  Ft.   Wayne,  Indiana. 


EARN  $20  WEEKLY  SCARE  TIME,  AT  HOME, 
addressing,  mailing  music-  circulars.  Send  10c  for 
music,  information.  American  .Music  Co.,  1658  Broad- 
way,    Dept.     E-l.     N.     Y. 

WANTED — $90-1195    MONTH.      MEN— WOMEN,    Is 

Up.  Steady.  Sure  pay.  Sbnit  hours.  Pleasant. 
Common  education  sufficient.  I'.  S.  Government  life 
positions.  Franklin  Institute,  Dept.  C  134,  Rochester, 
New    York.  

WANTED— RAILWAY  MAIL  CLERKS.  FREE 
list  of  Government  positions  obtainable.  Men  and 
Women.  IT  to  45  years.  Salary  $1,000  to  .$2,000. 
Write  today  for  booklet,  free  list  and  sample  lessons. 
United  Business  Tr.  Ass'n.  2131  Dinau  Bldg..  Detroit, 
Mich. 

WANTED— WOMEN— GIRLS.  LEARN  DRESS- 
making,  $35  week.  Sewing  oxperience  unnecessary. 
Sample  lessons  free.  Franklin  Institute,  Dept.  C  507, 
Rochester,    N.    Y. 

liE  A  DETECTIVE.  EARN  $250  to  $300  PER 
mouth.  Be  a  Finger  Print  Specialist.  Learn  Scotland 
Yaids  Methods.  Experience  not  necessary.  Write 
today  for  free  illustrated  booklet.  Tinted  Detective  Tr. 
Ass'n.     2131     Dinan    BUlg.,    Delruit,    Mich, 

PATENTS 

PATENTS.  WRITE  FOR  FREE  GUIDE  BOOK 
and  Evidence  of  Conception  Blank.  Send  model  or 
sketch  for  opinion  of  its  patentable  nature.  Highest 
References.  Prompt  Attention.  Reasonable  Terms. 
Victor  .1.    Evans   &   Co..    703   Ninth.   Washington.   D.   C. 

INVENTORS  DESIRING  TO  SECURE  PATENTS 
should  write  for  our  book.  "How  To  Get  Your  Patent." 
Send  model  or  sketch  of  invention  for  free  opinion  of 
patentable  nature.  Randolph  &  Co..  Dept.  462,  Wasli- 
ington.  D.   C. 

INVENTIONS  COMMERCIALIZED.  PATENTED  OR 
unpatented.  Write  Adam  Fisher  Mfg.  Co.,  187,  St. 
Louis.   Mo, 

POEMS-VERSES 
$500.00  PRIZE  CONTEST.  IF  YOU  WRITE  THE 
best  fourth  verse  of  our  song  "Empty  Arms,"  you 
will  receive  $500.00.  Send  your  name  and  we  shall 
send  you  free  the  contest  rules  and  words  of  this 
song.  World  Corp.,  245  W.  47th  St.,  Dept.  751A. 
New   York. 

PHOTOPLAY    TEXT    BOOKS 

SEND  TODAY  FOR  FREE  SAMPLE  OF  WRITER'S 

Digest,  America's  greatest  magazine  for  writers.  Filled 
with  practical  articles  by  leading  writers.  Will  help 
you   write    and    sell   stories,   photoplays,    etc.      611   Butler 

Bldg.,   Cincinnati. 

"HOW  TO  WHITE  A  PHOTOPLAY*."  BY  C.  G. 
Winkopp,  Tribune  Building.  New  York.  50  cents. 
Contains    model    scenario,     "Where    to    Sell."    "How    to 

Build    Plots."    "Where    to    get     Plots." 

HOW  TO  WRITE  PHOTOPLAYS.  A  LIBRARY 
of  information  on  scenario  writing  condensed  in  one 
volume.  Contains  a  model  scenario  ami  list  of  buyers. 
Price  35c.  Photoplay  Book  Co..  ill"  Ellis  Avenue, 
Chicago.    Illinois. I 

OF    INTEREST   TO    WOMEN 

SWITCHES  MADE  FROM  COMBINGS.  THE  NEW 
way.  Write  for  stylo  booklet.  Mrs.  E.  Vandervoort, 
Davcnporl.    Iowa. 

MANUSCRIPTS— TYPING 

MANUSCRIPTS  TYPED.  REVISED.  RF.ASON- 
able.      Cecil    Thomas.    531     Lincoln.    Toledo.    Ohio. 

AUTHORS  —  PLAYWRIGHTS.  MANUSCRIPTS 
Typed.     Smith  Typing  Service.     1985  Waterloo,   Detroit, 

Mich, 

MANUSCRIPTS,  PHOTOPLAYS  TYPED.  50a 
thousand.  Ilaworth  Typing  Service,  5123  Locust, 
Philadelphia,    Pa. 

ENTERTAINMENTS 

PLAYS,      MUSICAL      COMEDIES      AND      REVUES. 

minstrel  music,  blackface  skits,  vaudeville  acts,  mono- 
logs,  dialogs,  recitations,  entertainments,  musical  read- 
ings, stage  handbooks,  make-up  goods.  Big  catalog 
tree.  T.  S.  Denison  &  Co..  623  So.  Wabash,  Dept. 
76.    Chicago. 

TRICKS.  MAGIC  CARDS.  BOOKS.  NOVELTIES. 
Puzzles,  catalogue  free.  M.  Fenner,  2101  Jefferson, 
Louisville,   Ky. 


OLD   COINS 

OLD  COINS  WANTED.  WILL  l'AY  FIFTY  DOL- 
lars  for  nickel  of  I'd:;  with  Liberty  Head  (not  Buffalo), 
Wo  pay  cash  premiums  for  all  rare  coins.  Send  4c 
for  large  Coin  Circular.  May  mean  much  profit  to 
you.     Numismatic   Bank,    Dept.    75.   Fort  Worth.   Texas. 


'W*' 


If  your  nose  is  ill-shaped,  you  can  make  it  perfect 
with  ANITA  Nose  Adjuster.  In  a  few  weeks,  in  the 
privacy  of  your  own  room  and  without  interfering'  with 
your  daily  occupation,  you  can  remedy  your  nasal 
irregularity.     No  need  for  costly,  painful  operations. 


AFTER 


1.EoNNEY0.-r<iniTfl-  ™:i™  -nose  adjuster 

shaves  while  you  sleep— nuicklv,  painlessly,  permanently  and  inexpensively.  The  ANITA  NOSE 
a, ri 1 1 istf R  lathe  ORIGINAL  NASAL  SUPPORTER  highly  recommended  by  physicians  for  misshapen 
*ml frn-nfml  n<  , ■*.  %  fc,  I  tusraWe^No  screws.  No  metal  parts  Gentle  firm  told  perfectly  comfortable. 
'finnnrr,  IColtl  Medal  — Hluhes-t  in  Merit.  Lowest  In  Price.  Beware  of  Imitations!  write  today  <ju»t  your  name 
and adcfceM)  for IrnbSS,  •  •Happy  Day"  Ahead.  ■ '  and  our  blank  to  nil  out  for  9ize«.  Tour  nose  adjuster  can  be  paid  lor  when  II  reachej  you. 
Trie  ANITA  Company,  Dept.  1128,  ANITA  Bldg.,  Newark,  N.  J. 


C^i 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


SKID  PROOF— Fox.— A  racing  picture  after  the 
style  that  Wally  Reid  made  famous.  Crooked  driver, 
honest  boy  takes  his  place — you  know  the  rest. 
Action  is  fast  and  picture  runs  smoothly.      (.October.) 

SLANDER  THE  WOMAN— First  National.— 
And  still  the  formula!  Beautiful  heroine,  wrongfully 
accused,  goes  to  the  Frozen  North.  There,  in  the 
great,  open  spaces,  things  happen.  Mostly,  good 
photography.     (.August.) 

SNOW  BRIDE.  THE— Paramount.— A  forced  and 
artificial  story  of  life  in  a  Canadian  village.  Alice 
Brady,  even,  fails  to  register.     {August.) 

SNOWDRIFT — Fox. — A  cooling  Summer  picture, 
with  lots  of  ice  and  snow.  A  little  waif,  missionaries, 
Indians,  impossible  happenings.  Marries  a  reformed 
gambler  for  the  fade-out.     (August.) 

SOFT  BOILED— Fox.— Tom  Mix  and  Tony  in  a 
new  type  of  comedy.  Slight  story,  but  plenty  of 
action.  One  fight,  in  a  shoe  store,  is  exceptionally 
funny.    Good,  if  you  like  Mix  pictures.     (October.) 

SOUL  OF  THE  BEAST— Metro.— Cinderella 
elopes  with  an  elephant.  Hard  time  has  Cinderella, 
but  all  ends  well,  even  for  friend  elephant.      (July.) 

SOULS  FOR  SALE— Goldwyn.— A  Cook's  tour 
of  the  Hollywood  studios.  A  false  and  trivial  story, 
but  it  takes  you  behind  the  camera  and  is  very  enter- 
taining.    (June.) 

SPOILERS,  THE— Goldwyn.— A  new  version  of 
the  Rex  Beach  Alaskan  romance,  with  a  capital  cast. 
As  thrilling  as  ever.  Milton  Sills  and  Noah  Beery 
stage  a  realistic  fight,  and  Anna  Nilsson  is  excellent  as 
the  dance  hall  girl.     (August.) 

ST.  ELMO— Fox.— A  novel  pf  the  time  of  our 
fathers  which  makes  u  picture  of  about  the  same  era. 
Attempting  to  modernize  the  story  has  not  helped  it. 
(October.) 

STEEL  TRAIL,  THE — Universal. — A  serial  about 
the  building  of  a  railroad,  interesting  and  full  of 
thrills.  The  building  of  the  road  is  very  real  and  the 
villains  very  wicked.     (October.) 

STEPPING  FAST— Fox.— Tom  Mix  mixes  with 
desperadoes.  He  saves  a  girl  from  the  rascals  after 
a  trip  to  China.    The  girl  says  "yes."      (July.) 

SUCCESS— Metro.— Sentimental  melodrama.  A 
screen  version  of  a  stage  play  which  was  not  a  success. 
(September.) 

SUNSHINE  TRAIL,  THE— First  National.— The 
story  of  a  nice  young  man  who  wants  to  spread  sun- 
shine everywhere  but  gets  under  a  cloud  in  his  own 
home  town.      (June.) 

SUZANNA— Allied  Producers.— Mack  Sennett 
tries  plot  instead  of  pies  without  so  much  success,  but 
Mabel  Normand  stirs  in  some  fine  humor.  Early 
California,  missions,  Spaniards — and  Mabel.     (June.) 

TEMPTATION— C.  B.  C.  Film  Sales  Corp.— 
Original  in  that  the  couple  who  are  struggling  un- 
happily under  the  weight  of  their  millions  do  not  lose 
the  bankroll  and  live  forever  in  a  cottage.     (July.) 

THREE  JUMPS  AHEAD— Fox— Tom  Mix  and 
his  horse  Tony  leap  a  chasm  and  give  you  an  hour 
of  Western  thrill  with  love  interest.     (June.) 

THREE  WISE  FOOLS— Goldwyn.— A  screen  ver- 
sion of  a  stage  success,  witli  much  hokum  but  with 
plenty  of  entertainment  and  appeal.     (September.) 

TIGER'S  CLAW— Paramount.— Jack  Holt  goes 
to  India,  gets  bit  by  a  tiger,  married  to  half-caste, 
and  mixed  up  in  poison  plots.     (June.) 

TOWN  SCANDAL,  THE— Universal.— Gladys 
Walton  is  a  chorus  girl  who  runs  out  of  a  job  and  goes 
home  to  write  her  memoirs  for  the  local  gazette.  Of 
course  the  poor  girl's  misunderstood.     (June.) 

TRAILING     AFRICAN     WILD     ANIMALS— 

Metro. — This  Martin  Johnson  picture  is  the  best  of 
its  kind.  The  best  animal  close-ups  ever  made,  and 
some  tremendous  thrills.     (July.) 

TRAIL   OF  THE  LONESOME   PINE,   THE— 

Paramount. — Mountaineers,  moonshiners,  Minter 
and  Moreno.  Also  Ernest  Torrence.  The  players 
are  the  thing.     (June.) 

TRIFLING  WITH  HONOR— Universal.— The 
story  of  a  home-run  king,  resembling  Babe  Ruth, 
who  is  the  idol  of  the  small  boys.  Intensely  dramatic 
and  worthy.     (July.) 

TRILBY — First  National. — A  careful  and  artistic 
production  of  the  Du  Maurier  romance  with  Andree 
Lafayette,  the  French  actress,  as  star.  Entertain- 
ment value  marred  a  little  by  the  direction.    (October.) 

TRIMMED  IN  SCARLET— Universal.— Char- 
acters displaying  their  lack  of  sense  in  a  way  that 
may  earn  your  pity  but  not  your  sympathy.     (June.) 

VANITY  FAIR— Goldwyn.— Hugo  Ballin's  work- 
manlike visualization  of  Thackeray's  novel.  Not 
brilliant,  but  adequate.     (June.) 

VENGEANCE  OF  THE  DEEP— American  Re- 
leasing Corp. — Sharks,  devil  crabs,  sea  weed  and 
treasure  chests  make  the  under-sea  pictures  inter- 
esting and  thrilling.  But  the  actors  on  dry  land  are 
not  so  interesting.     (July.) 


23 


BEFORE 

Photo  of  Mrs.  Grace  Horchler.  4352  Michigan  Ave., 
Chicago,  before  gelling  thin  to  music:  weight  234  lbs. 


AFTER 

Mrs.  Horchler  just  four  months  later,  showingwhal 
Wallacereducingrecordsdidforher:  weight  160lbs. 


From  234  lbs.  to  1 60 


"I  had  just  about  given  up  hope 
when  I  heard  of  Wallace,"  said 
the  lady  whose  pictures  appear 
above.  "I  had  tried  everything 
for  reducing  without  success, 
but  Wallace's  records  have  made 
me  a  normal  woman." 

This  case  should  convince  anybody  that  Wal- 
lace has  really  solved  the  problem  of  overweight! 
Seventy-four  pounds  reduction  in  four  months; 
a  bulky  figure  re-proportioned;  with  new  health 
and  activities. 

No  Starving  —  No   Punishment 

Mrs.  Horchler  will  tell  you  she  had  tried 
everything  from  fasting  and  Turkish  baths  to 
drugs  and  mechanical  devices,  and  could  scarcely 
believe  her  eyes  and  feelings  as  Wallace's  delight- 
ful method  started  her  superfluous  flesh  to  fairly 
melt  away.  You  don't  starve;  you  don't  study 
tedious  books  or  go  through  any  irksome  rigma- 
role.    Just  a  natural,  enjoyable  method  done  to 


music — that  works  as  surely  as  heat  and  cold 
work  on  the  thermometer. 

Wallace's  reducing  record  for  the  first  week's 
reduction  will  open  your  eyes!  Don't  you  want 
it?  Isn't  it  worth  a  trial  that  costs  you  nothing? 
That's  Wallace's  offer!  To  show  you  inside  of 
one  week  results  that  will  settle  the  weight 
question  for  all  time!  Send  no  money.  The 
trial  is  really  free.  Let  the  scales  decide  whether 
you  want  the  course!  Fill  out  this  coupon — 
and  prepare  for  a  wonderful  surprise! 


t 


'M 


Mail  This   Coupon 
to    WALLACE 

630  S.  Wabash  Ave.,  Chicago 

Brings  First  Lesson  Free 

—Record  and  All! 


Please  send  me  FREE  and  PREPAID  lor  5  days' 
free  trial  the  original  Wallace  Reducing  Record  tor 
my  first  reducing  lesson.  ]f  I  am  not  perfectly  satis- 
fied with  the  results,  will  return  your  record  and  will 
neither  owe  you  one  cent  nor  be  obligated  in  any  way. 

(233 1 

Name 

Address ... 


wOT   >-.#• 


send 

birth  date 


/to?You  Reaching  forthe  (tmM 

.  Underwhich  Zodiac  Sign 

J  Will  tCll  yOU      were  you  born?    What 

ip  ly^A*  y      are   your   opportunities 

M.  J^-JLV  JLs  in  life,  your  future  pros- 
pects, happiness  in  marriage,  friends,  ene- 
mies, success  in  all  undertakings  and  many 
other  vital  questions  as  indicated  by  AS- 
TROLOGY, the  most  ancient  arid  interesting 
science  of  history? 

Were  you  born  under  a  lucky  star?  I  will 
tell  you,  free,  the  most  interesting  astrologi- 
cal interpretation  of  the  Zodiac  Sign  you 
were  born  under. 

Simply  send  me  the  exact  date  of  your 
birth  in  your  own  handwriting.  To  cover 
costof  this  notice  and  postage,  inclose  ten  cents 
in  any  form  and  your  exact  name  and  address. 
Your  astrological  interpretation  will  lie 
written  in  plain  language  and  sent  to  you 
securely  sealed  and  postpaid.  A  great  sur- 
prise awaits  you! 

Do  not  fail  to  send  birthdate  and  to  in- 
close 10c.  Print  correct  name  and  address 
to  avoid  delay  in  mailing. 

Write  now— TODAY— to  the 
AST  A  STUDIO,  309  Fifth  Ave.,  Dept.  PH.  New  York 


When  you  write  to  advertisers  please  mention  PHOTOPLAY.  MAGAZINE. 


24 


Photoplay  Magazine — Advertising  Section 


DO  YOU  SEE  YOURSELF  AS  OTHERS  SEE  YOU? 


A  NEW  SCIENTIFIC,  PAINLESS  METHOD  OF 
CORRECTING     ILL-SHAPED 


TIME  ADVANCES  —  as  does  science  succeed  in 
perfecting  each  invention.  My  15  years  of  experi- 
ence in  manufacturing  and  selling  Nose  Shape?  s  nave 
proven  to  me  that  I  can  now  offer  to  the  unfortuiatc 
possessors  of  ill-shapen  noses  the  most  meritorious  Nose 
Adjuster  »tf  the  age.  My  latest  improved  Model  No.  25 
il;  S.  and  many  foreign  patents)  has  so  many  superior 
qualities  that  it  surpasses  ail  my  previous  shapers  and 
other  Xose  Adjusters  by  a  large  margin. 

In  the  first  place,  my  newest  appliance  is  better 
fitting;  the  adjustments  are  such  that  it  will  fit  every 
nose  without  exception — my  apparatus  is  constructed 
of  light  weight,  metal,  and  la  afforded  very  accurate 
regulation  by  moans  of  six  hexagonal  screws,  which  are 
regulated  with  a  key  and  the  screws  are  then  locked  in 
the  desired  position.  These  screws  will  bring  alout 
the  exact  pressure  for  correcting  the  various  nasal 
deformities — such  as:  long — pointed  nose — pug — hook 


A  perfect  lookin 
nose  can  easily 
be  yours  •  •  • 


NOSES   AT    HOME 


or  shrew  nose — and  turned  up  nose — and  will  Five 
marked  success  in  modulating  the  distended  or  wide 
nostrils.  There  are  no  straps  to  be  pulled  in  order  to 
exert  pressure  on  the  nasal  organ. 

Model  No.  25  is  upholstered  inside  with  a  very  fine 
chamois  (covering  a  layer  oi  thin  metal)  which  protects 
the  nose  from  direct  contact  with  the  apparatus;  this 
lining  of  metal  causes  an  even,  moderate  pressure  en 
the  parts  being  corrected,  thus  avoiding  a  harsh,  violent 
pressure  in  any  one  place. 

Model  No.  26  Is  guaranteed,  and  corrects  now  all  ill- 
shaped  noses  without  operation,  quickly,  safely,  comfort- 
ably and  permanently.  It  is  to  be  worn  at  nipbt  and. 
therefore,  will  not  interfere  with  your  daily  work. 

//  you  wish  to  have  a  perfect  looking  nose,  write  toda  y 
for  my  free  booklet  which  tells  you  how  to  correct  ill- 
shaped  noses  without  cost  if  not  satisfactory. 


M.  TRILETY,  Face  Specialist,  1940  Ackerman  Bldg.,  BINGHAMTON,  N.  Y. 


Scenario  Writers 

With  its  March  issue  PHOTODRAMATISTof 
Hollywood,  for  years  friend,  adviser  and  desk  com- 
panion of  writers,  broadened  its  scope,  enlarged  from 
44  to  100  pages  and  put  on  a  newdress.  Itsnewnameis 

STORY  WORLD 

and  Photodramatist 

Its  increasingly  brilliant  list  of  famous  contributors 
makes  it  more  valuable  than  ever  to  all  who  write 
creative  fiction. 

You  can  not  afford  to  be  without  this  inspirational 
aid.  Regular  subscription  price  #2.50.  But  we 
will  send  it  6  months  for  #1  on  receipt  of  this  ad 
with  your  remittance. 

Photodramatist  Publishing  Co.,  Inc. 
641 1  Hollywood  Blvd.  Hollywood,  Cal. 


>v^ 


An  amazing  offer  to  make  new  friends!  The  lucky  ones  will  order 

auick!  Beautiful  genuln*  gold  filled  bracelet  watch  —  guaranteed 
5  years.  Newest  Octagon  shape  fancy  hand  engraved  small  thin 
model,  with  reliable  6-Jcwrl  New  Cylinder  Imported  Movement. 
Polished  bridge  style  of  latest  design  with  grosgrain  silk  ribbon; 
adjustable  sliding  snap  buckle.    Comes  in  aiik  lined  leather  case. 

Send  No  Money  l$™l\^}b™ 

lutely  free — a  pretty  engraved  ring  to  match. 
Bet  witli  sparkling  white  sapphire — a  very 
pretty  rinje.  Send  quick — no  money  now. 
I'  iv  pnetrnun  on  arrival  only  $6.69  for  watch, 
nothing  for  ring.  Satisfaction  guaranteed  or 
your  money   back. 

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Oept.    M117  CHICAGO 


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fShapeliness 


easily    acquired   by    reducing    disfiguring   fat    in    any    part    of    the    body 
of  MEN  OR  WOMEN,  by  few  minutes'   daily  use  of  the  famous  invention 

DR.  LAWTOIMTS 

GUARANTEED  FAT  REDUCER 

AND  ILLUSTRATED  COURSE  ON  WEIGHT  CONTROL 


wherever   applied,  which   disintegrates 
This  waste  matter  is  then  carried  out  of 


It  performs  a  gentle  deep-rot ed  massage. 
Ugly  fat  and  only  where  you  wish  to  lose, 
the  body  through  the  organs  of  elimination. 

The  Reduction  Is  Permanent 

You  can  reduce  from  1  lo  100  pounds.  No  medicines  or  starvation  diet.  No  exercises 
or  electrioiiy.  Easiest  way  in  the  world  to  rid  your  hody  of  that,  useless,  joke-inviting 
fat  Internationally  known  for  many  years.  Used  by  thousands  and  thousands  of 
nun  and  women.  Approved  and  recommended  liv  physicians.  Dr.  I.awion's 
Guaranteed  Fat  Reducer  is  made  of  light,  soft,  pliable  rubber. 

Smooths  The  Skin;  Firms  The  Flesh 
Dr.  Lawton's  authoritative  book,  "WEIGHT  REDUC- 
TION," is  sent  with  the  Fat  Reducer.  This  explains  how  to 
use  It,  also  how  to  stay  thin  after  the  Reducer  has  done 
QPFPIil  PRICF  Us  work.  Reducin;  results  must  show  in 
5rLV,l"L  rmuc     eleven  days  or  you  may   return  the  Re- 

$^%.  m  »*     ducer  complete  and   receive  back    your 
•    £  ^\     hill  purchase   price.    This  Is  Dr.   I.aw- 
^C    •   *J     ton's  positive  guarantee!     Sent  C.  O.  D. 
J  in  plain  .settled  wrapper,  or  if  you  prefer 

%^f  remit  S3  75  plus  20c.  for  shipping  costs. 

Order  yours  now.     Free  literature  sent 
on  request. 


SENT  C.  0.  D. 


DR.  THOMAS  LAWTON 

120  West  70th  Street  Dept.  78 


New  York  City 


VICTOR,  THE  —  Universal.  —  Rather  obviou- 
story  oi  titled  Englishman,  stranded  in  New  York, 
and  his  love  affair  with  a  good  little  actress.  Amusing 
but  not  worth  wasting  much  time.     (October.) 

WANDERING  DAUGHTERS— First  National.— 
If  you  are  a  daughter,  wander  away  from  this  picture 
and  save  your  time  and  money.     (September.) 

WESTBOUND  LIMITED— F.  B.  O.— A  homely, 
sympathetic  tale  built  about  the  railroad  and  its  men. 
A  love  interest,  too — though  hardly  necessary.  (July.) 

WHAT  WIVES  WANT— Universal.— After  mam- 
reels  the  husband  realizes  that  all  business  and  no 
love  will  wreck  any  marriage.  You  probably  will 
realize  it  from  the  first.      (July.) 

WHERE  IS  MY  WANDERING  BOY  THIS 
EVENING — United  Artists. — A  Ben  Turpin  comedy, 
and  as  full  of  laughs  as  any  of  his  nonsense.  He  is 
vamped  in  this  one — and  compromised.    (September.) 

WHITE  FLOWER,  THE— Paramount.— Hawaii 
and  Betty  Compson  are  alluring.  Nothing  else 
matters  if  you  like  them.    And  who  doesn't?    (June.) 

WHITE  ROSE,  THE— United  Artists.— D.  W. 
Griffith's  latest,  bringing  Mae  Marsh  back  to  the 
screen.  The  star's  playing  is  wonderful.  So  are  the 
sets  and  photography.  The  story  is  not  so  much. 
Ivor  Novello,  Mr.  Griffith's  new  leading  man,  is 
highly  decorative.     (August.) 

WITHIN  THE  LAW— First  National.— An  ex- 
pensive production  with  big  names,  but  lacking 
inspiration  and  vitality.  Norma  Talmadge  seems 
afraid  to  act.  The  best  work  is  that  of  Lew  Cody  as 
the  crook.      (July.) 

WOMAN  OF  BRONZE,  THE— Metro.— Clara 
Kimball  Young  as  the  wife,  who  after  disillusionment 
and  anguish  proves  to  be  the  ideal  woman  for  Iter 
husband.      (June.) 

WOMAN  WITH  FOUR  FACES— Paramount.— 
A  fast  moving  crook  melodrama,  always  interesting, 
with  some  excellent  acting  by  Betty  Compson.  A 
thrilling  aeroplane  escape  from  prison  a  feature. 
(September.) 

YOU  ARE  GUILTY— Mastodon  Films.— Medi- 
ocrity with  a  distinguished  cast.     (June.) 

YOU  CAN'T  FOOL  YOUR  WIFE— Paramount. 
— Good  money  and  players  wasted  upon  an  absurd 
story.  Again  the  husband  on  the  edge  of  the  restless 
forties,  the  neglected  wife  and  the  regulation  vampire. 
(July.) 

YOUTHFUL  CHEATERS— Hodkinson—  A  story 
of  the  country  youth  in  the  big  city.  Full  of  jazz  and 
other  modern  features.  Glenn  Hunter  is  good. 
(September.) 


Brickbats  and  Bouquets 

[  CONTINUED  FROM  PAGE  IO  ] 


Griffith's  masterpiece;  and  now  "The  Covered 
Wagon'- — weakened,  however,  by  a  cloying 
love  story;  but  what  else?  And  from  Griffith, 
to  whom  we  look  with  eagerness,  has  come  a 
succession  of  disappointing  productions  that 
would  be  mediocre  if  it  were  not  for  that  hint 
of  genius  smouldering  in  each. 

The  drawback  to  the  screen  play,  is,  I  sup- 
pose, that  it  must  be  a  thing  of  physical  action 
rather  than  of  psychological.  At  least,  that 
is  what  producers  have  been  chanting  for 
years.  Just  why  this  should  be  I  cannot 
understand,  for  superficial  action  is  of  no  value 
at  all  unless  there  be  a  fundamental  guiding 
thought.  When  our  heroine  dangles  by  a  rope 
over  a  yawning  chasm,  we  don't  give  a  rap  for 
the  picture;  it  is  of  what  she  is  thinking,  and 
the  complications  of  the  situation  that  arc 
holding  us  breathless.  Can  producers  be 
deluding  themselves  with  the  mere  picture 
and  forgetting  the  fundamental  thing? 

George  T.  Raynee. 


Thank  You,  Sheik 

Akron,  Ohio. 
Editor  Photoplay  Magazine. 

Dear  Sir:  Thank  heaven  for  some  one  who 
knows  about  sheiks  and  can  say  something  in 
favor  of  the  much  talked  of,  poor,  growled- 
about  "Sheik."  A  thousand  thanks,  M. 
Yussef,  for  saying  what  you  did  for  Valentino 
because  so  many  have  actually  razzed  the  poor 
fellow  since  he  played  that  wonderful  part. 

M.  F.  V.. 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine —Advertising  Section 


25 


Elinor  Glyn  Dares  to  Tell 
the  Truth  About  Marriage 

ELINOR  GLYN,  FAMOUS  AUTHOR  OF  "THREE  WEEKS,"  HAS 
WRITTEN  A  WONDERFUL  BOOK  THAT  SHOULD  BE  READ  BY  EVERY 
MAN  AND  WOMAN— MARRIED  OR  SINGLE.  "THE  PHILOSOPHY 
OF  LOVE"  IS  NOT  A  NOVEL— IT  IS  A  HELPFUL  SOLUTION  OF  THOSE 
PROBLEMS  OF  LOVE  AND  MARRIAGE  ABOUT  WHICH  MOST  OF 
US  KNOW  SO  LITTLE  AND  CONCERNING  WHICH  WE  SHOULD  BE 
SO  WELL  INFORMED.  READ  BELOW  HOW  YOU  CAN  GET  THIS 
THRILLING  BOOK  AT  OUR  RISK— WITHOUT  ADVANCING  A  PENNY. 

^ILL  you  marry  the  man  you     What   Do   YOU   Know 

love,  or  will  you  take  the  one 
you  can  get?  About   Love? 


If  a  husband  stops  loving  his  wife, 
or  becomes  infatuated  with  another 
woman,  who  is  to  blame — the  hus- 
band, the  wife,  or  the  "other 
woman?  " 

Will  you  win  the  girl  you  want, 
or  will  Fate  select  your  Mate? 

Will  you  be  able  to  hold  the  love 
of  the  one  you  cherish — or  will  your 
marriage  end  in  divorce? 

Do  you  know  how  to  make  people 
like  you? 

TF  you  can  answer  the  above  ques- 
tions— if  you  know  all  there  is  to 
know  about  winning  a  woman's 
heart  or  holding  a  man's  affection — 
you  don't  need  "The  Philosophy  of 
Love. "  But  if  you  are  in  doubt — if 
you  don't  know  just  how  to  handle 
your  husband,  or  please  your  wife, 
or  win  the  devotion  of  the  one  you 
care  for — then  you  must  get  this 
wonderful  book.  You  can't  afford 
to  take  chances  with  your  happiness. 


"TvO  you  know  how  to  win  the  one  you 
■*-J  love?  Why  do  husbands  often  grow 
increasingly  indifferent  even  though  their 
wives  strive  tirelessly  to  please  them?  Why 
do  some  men  antagonize  women,  finding 
themselves  beating  against  a  stone  wall  in 
affairs  of  love?  When  is  it  dangerous  to 
disregard  convention?  Do  you  know  how 
to  curb  a  headstrong  man,  or  are  you  the 
victim  of  men's  whims? 

Do  you  know  how  to  retain  a  man's 
affection  always?  How  to  attract  men? 
Do  you  know  the  things  that  most  irritate  a 
man?  Or  disgust  a  woman?  Can  you  tell 
when  a  man  really  loves  you — or  must  you 
take  his  word  for  it?-  Do  you  know  what 
you  MUST  NOT  DO  unless  you  want  to 
be  a  "wall  flower"  or  an  "old  maid"?  Do 
you  know  the  little  things  that  make  women 
like  you?  Why  do  "wonderful  lovers' 
often  become  thoughtless  husbands  soon 
after  marriage — and  how  can  the  wife 
prevent  it?  Do  you  know  how  to  make 
marriage  a  perpetual  honeymoon? 

In  "The  Philosophy  of  Love,"  Elinor  Glyn 
courageously  solves  the  most  vital  problem  - 
of  love  and  marriage.  Her  book  will  thrill 
you  as  you  have  never  been  thrilled  before. 
It  may  also  upset  some  of  your  pet  notions 
about  love  and  marriage.     But  it  will  set 


What  Every  Man  and 
Woman  Should  Know 


-how    to    win    the    man 

you  love. 
-how  to  win  the  girl  you 

want . 
-how  to  hold  your  hus- 
band's love, 
-how    to    make    people 

admire  you. 
-why  "petting  parties" 

destroy    the    capacity 

for  true  love, 
-why    many    marriages 

end    in    despair, 
-how  to  hold  a  woman's 

affection, 
-how  to  keep  a  husband 

home  nights, 
-things   that   turn  men 

against  you. 
-how  to  make  marriage 

a    perpetual    honey- 
moon, 
-the  "danger  year"   of 

married  life. 


- — how  to  ignite  love — 
how  to  keep  it  flaming 
— how  to  rekindle  ii  U 
burnt  out. 

—  how  to  cope  with  the 
"hunting  instinct"  in 
men. 

— how  to  attract  people 
you  like. 

— why  some  men  and 
women  are  always  lov- 
able, regardless  of  age. 

—  are  there  any  real 
grounds  for  divorce? 

— how    to    increase  your 

desirability  in  a  man's 

eye. 
— how  to  tell  if  someone 

really  loves  you. 
■ — things    that    make    a 

woman     "cheap"     or 

"common." 


you  right  about  these  precious  things  and 
you  will  be  bound  to  admit  that  Madame 
Glyn,  who  has  made  a  life  study  of  love, 
has  written  the  most  amazingly  truthful 
and  the  most  downright  helpful  volume 
ever  penned.  She  warns  you  gravely,  she 
suggests  wisely,  she  explains  fully. 

We  admit  that  the  book  is  decidedly  daring.  It  had 
to  be.  A  book  of  this  type,  to  be  of  real  value,  could 
not  mince  words.  Every  problem  had  to  be  faced 
with  utter  honesty,  deep  sincerity,  and  resolute  cour- 
age. But  while  Madame  Glyn  calls  a  spade  a  spade, 
while  she  deals  with  strong  emotions  in  her  frank, 
fearless  manner,  she  nevertheless  handles  her  subject 
so  tenderly  and  sacredly  that  the  book  can  safely 
be  read  by  any  man  or  woman. 

Certain  shallow-minded  persons  may  criticsie 
"The  Philosophy  of  Love."  Anything  of  such  an 
unusual  character  generally  is.  But  Madame  Glyn 
is  content  to  rest  her  world-wide  reputation  on  this 
book — the  greatest  masterpiece  of  love  ever  attempt  ed ! 

SEND  NO  MONEY 

YOU  need  not  advance  a  single  penny  for  "The 
Philosophy  of  Love."  Simply  fill  out  the  cou- 
pon below — or  write  a  letter — and  the  book  will  be 
sent  in  plain  wrapper  on  approval.  When  the  post- 
man delivers  the  book  to  your  door — when  it  is 
actually  in  your  hands — pay  him  only  $1.98,  plus 
a  few  pennies  postage,  and  the  book  is  yours.  Go 
over  it  to  your  heart's  content — read  it  from  cover 
to  cover — and  if  you  are  not  more  than  pleased, 
simply  send  the  book  back  in  good  condition  within 
five  days  and  your  money  will  be  refunded  instantly. 

Over  75,000,000  people  have  read  Elinor  Glyn's 
stories  or  have  seen  them  in  movies.  Her  books  sell 
like  magic.  "The  Philosophy  of  Love"  is  the  su- 
preme culmination  of  her  brilliant  career.  It  is  des- 
tined to  sell  in  huge  quantities.  Everybody  will 
talk  about  it  everywhere.  So  it  will  be  exceedingly 
difficult  to  keep  the  book  in  print.  It  is  possible 
that  the  present  edition  may  be  exhausted,  and  you 
may  be  compelled  to  wait  for  your  copy,  unless  you 
mail  the  coupon  below  AT  ONCE.  We  do  not  say 
this  to  hurry  you — it  is  the  truth. 

Get  your  pencil — fill  out  the  coupon  below.  Mail 
it  to  The  Authors'  Press,  Auburn,  N.  Y.,  before  it. 
is  too  late.  Then  be  prepared  for  the  greatest  thrill 
of  your  life! 


The  Authors'  Press,  Dept.  407,  Auburn,  N.  Y. 

Please  send  me  on  approval  Elinor  Glyn's  master- 
piece, "The  Philosophy  of  Love."  When  the  post- 
man delivers  the  book  to  my  door,  I  will  pay  him 
only  SI. 98.  plus  a  few  pennies  postage.  It  is  under- 
stood, however,  that  this  is  not  to  be  considered  a 
purchase.  If  the  book  docs  not  in  every  way  come 
up  to  expectations.  I  reserve  the  right  to  return  It 
any  time  within  five  clays  after  It  is  received,  and 
you  agree  to  refund  my  money. 


De  Lux 

e    Leather 

Editior 

—  Wo   1 

ive   preparer. 

a    Limited 

Edi- 

hound 

in    Rovii 

i  m 

,■    Gen, 

ine    Leathei 

and 

in   Gold. 

with  Gc 

Id    foM 

and 

1! Silk    Murker.. 

No 

edition — 

makes    a    KOI  P  ' 

ia   i 

II        It 

you    prefer 

this 

leather 

do 

limply 

Hunt.  1 

UN      I..-1.  ,V. 

1 

place  a 

cross  in  the  liulc 

t  the 

r,d  pay  the 

postman 

only  12.98  plus  p 

1 I 

City  and  State 

IMPORTANT— If  you  reside  outside  the  II.  S.  A., 
payment  must  be  made  In  advance  Regular  Edition 
S2.12.     Leather  Edition.  S:i.l'2.     Cash  with  coupon 


When  you  write  lo  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


v  ■ 


Enjoy  thirst 
through  all 
four  seasons 


Drink 


Every  advertisement  in  rHOTOrLAY  MAGAZINE  is  guaranteed. 


William  Eglinton 


New 
Pictures 


A/I ARY  EATON  toe-danced  her   way   into   the 

spotlight  and,  incidentally,  into  fame  via  the 
Ziegfeld  "Follies."  A  Washington  girl,  and  very 
young,  she  will  make  her  screen  debut  in  "His 
Children's    Children"    as    an    erring    daughter 


.Straust"  IV\  ton 


yLnSTITI.,  elfin,  elusively  tender,  quaint.  Charming  words — and  they  all  de- 
scribe May  McAvoy  who,  as  the   perfect  Barrie  heroine,  won  the   public's 
heart.  She  will  be  leading  lady  for  Glenn  Hunter  in  "West  of  the  Water  Tower" 


Evans 


VVTITH  shyly  down-casl  eyes,  and  pouting  lips,  Colleen  Moore  belies  the  title 

of  her  next  picture.  "The  Huntress."  Just  dimly  one  can  glimpse  the  Sicker 

of  a   brand   new  engagement    ring  on  the   slim   third    finger   of   her   left   hand 


Abl)« 


TTWIN  reasons  why  diplomatic  relations  are  so  friendly  between  the   United 

States  and  France.  For  the  Dolly  sisters  were  made  in  America — though  born 

abroad — and  for    a    seemingly    endless    period    they    have    been   lent    to    Paris 


AJfrcd  Chenpv  Johnston 


T^ETTA  WESTCOTT,  who  will  lend  the  spirit  of  spring  eternal  to  "Maytime," 

^^    is  the  latest  importation  from  England.  There  she  is  known  as  "the  girl  with 
the  perfect   profile" — but    we  aver  that    she  is  not    hard   to  look  at,    head  on  I 


Edwin  Bower  Heaaei 


/""■HARMING  always — and  always  just  a  bit  aloof — Enid  Bennett.  A  lovely 
^-^  lady  of  a  Tennyson  idyl,  with  golden  hair  and  a  nose  that  is  "tip-tilted 
like  the  petal  of  a  flower."  She  has  just  finished  work  in  "Captain  Applejack" 


Hoover 


TOUISE  FAZENDA  who  take  it  from  the  wee  por- 
-*-/  trait  in  character  is  always  ready  to  sacrifice1 
beauty  for  art.  She  will  be  one  of  the  most  enthusiastic 
of    the    gold    diggers    in    the    picture    of    thai     name1 


before  you  wash  precious  silks  and  woolens 

make  this  test 


BECAUSE  we  know  from  long 
experience  that  the  most  deli- 
cate silks  and  woolens  can  be  safely 
washed,  we  ask  you  to  avoid  possi- 
ble dangers  by  making  a  simple 
yet  conclusive  soap  test. 

Here  is  the  test: 

Before  risking  your  precious  gar- 
ments, ask  yourself: 

"Would  I  be  willing  to  use 
this  soap  on  my  face?" 

That  is  the  whole  test  for  any  soap, 
no  matter  of  what  kind  or  form. 
If  the  soap  is  pure  enough  and 
mild  enough  to  be  used  safely  on 
your  skin,  it  is  naturally  safe  for 


the  most  delicate  white  and  col- 
ored fabrics.  If  you  suspect  it 
might  be  too  strong,  we  urge  you 
to  be  cautious. 

It  is  not  by  mere  chance  that  Ivory 
Flakes  is  one  of  the  very  few  soaps  for 
delicate  fabrics  which  can  stand  this  test. 

Ivory  Flakes  is  Ivory  Soap — the  very 
same  Ivory  Soap  that  women  every- 
where use  daily  to  protect  and  preserve 
lovely  complexions.  The  only  differ- 
ence is  in  the  form. 

Since  Ivory  Flakes  is  pure,  mild  and 
gentle  enough  for  the  skin — yes,  even 
for  a  baby's  skin  —  it  is,  of  course,  safe 
for  any  fabric  which  can  stand  the 
touch  of  pu-e  water.  Just  whip  up  the 
rich  Ivory  suds,  as  directed  on  the  Ivory 
Flakes  box.  and  dip  the  garment  into 
it  with  perfect  confidence. 


In  addition  to  having  a  real  margin 
of  safety  beyond  other  soaps  for  the 
more  delicate  things,  Ivory  Flakes  is 
economical  enough  for  use  in  washing 
the  heavier  articles  that  need  care  and 
the  protection  of  pure  soap — linens, 
blankets,  draperies,  and  so  on. 

If  you  will  accept  the  offer  made  in 
the  lower  right-hand  corner  of  this 
page,  we  shall  gladly  send  you  a  sam- 
ple of  Ivory  Flakes  and  the  beautifully 
illustrated  booklet,  "The  Care  of 
Lovely  Garments." 

Full  size  packages  of  Ivory 
Flakes  are  for  sale  in  gro- 
cery and  department  stores 
everywhere. 

Procter  ec  Gamble 


SMakes  dainty  clothes  last  longer 


Silkiness  Preserved  in 
Washing  Angora  Wool 

TWO  lace  wool  shawls  nude  of  soft 
Angora  yarn  were  bought  in  Eng- 
land several  yean  ago.  One  was  worn 
and  was  washed  over  and  over  with 
Ivory  Flakes,  in  spite  of  warnings 
against  water.  The  other  shawl  was 
put  away.  After  a  while  they  were 
compared.  Their  owner  says  there  is 
not  the  slightest  difference — in  tex- 
ture, color,  softness — and  declares  this 
is  the  highest  tribute  she  can  pay  to 
the  safety  of  Ivory  Flakes. 

(Shawl  and  owner's  letter  on  file    \/X 
in  the  Procter  &  Gamble  office.)     '  "J  - 


i  ;'  , 


$jJY    ■  « ■  ■-' ****?  '™™w 

"  IVORY  I 

SOAP 

FLAKES 


Tissue-thin  Tan  Crepe 

WASHED  PERFECTLY 

THIS  delicate  blouse  of  tan  crepe,  with  its 
lovely  embroidery,  "was  too  cosdy  a  garment 
unless  it  could  be  washed,"  says  its  owner's 
letter  to  us.  "I  laundered  it  with  Ivory  Flakes 
with  most  gratifying  results."  She  has  washed 
it  with  Ivory  Flakes  six  times,  and  the  colors 
and  texture  are  as  fresh-looking  as  when  it  was 
first  bought. 

(Blouae  and  owner's  letter  on  file 
in  the  Procter  &  Gamble  office.) 


Free — This  package  and  booklet 

A  sample  package  of  Ivory  Flakes 
and  the  beautifully  illustrated  book- 
let, "The  Care  of  Lovely  Garments," 
will  be  sent  to  you  without  charge 
on  application  to  Section  45-KF, 
Dcpt.  of  Home  Economics,  The 
Procter  Be  Gamble  Co.,  Cincinnati, 
Ohio. 


Op? right  IMS,  by  Thv  Procter  *  Gamble  (Jo.,  Cincinnati 


Volume  XXIV 


The  TSational  Cjuide  to  ^Motion  ^Pictures 


Number  Six 


(Tit AUK    MARK] 


PHOTOPLAY 


November,  1923 


Speaking  of  Pictures 


By  James  R.  Quirk 


HARRY  REICHENBACH,  the  highest  salaried  press  agent 
in  the  world,  is,  with  Wilton  Lackaye  and  Will  Rogers,  very 
much  in  demand  as  toastmaster  and  after  dinner  speaker 
because  of  his  lightning  wit  and  ready  retort.  The  other  day  I 
asked  his  opinion  of  a  certain  star  now  declining  in  popularity. 
"  She's  a  nice  girl,"  he  said,  "kind  to  dumb  animals  and  good 
to  her  mother,  but  she's  so  stupid  that  they  had  to  burn  the 
school  house  down  to  get  her  out  of  the  second  grade." 

IT  is  announced  that  Peggy  Joyce,  she  of  the  arm  loads  of 
diamond,  sapphire  and  emerald  bracelets,  will  shortly  make  a 
picture  which  is  now  being  written  for  her.  She  is  now  the  star 
of  a  New  York  stage  revue,  and  if  she  doesn't  do  better  on  the 
screen  than  she  does  on  the  stage  she  won't  get  far.  Once 
before  exhibitors  objected  to  commercializing  her  notoriety  at 
the  expense  of  the  screen. 

IT  is  with  sadness  that  we  record  the  death  of  Bernard 
Durning,  one  of  the  most  promising  of  the  younger  directors 
and  the  husband  of  Shirley  Mason.  Not  yet  thirty,  he  was  fast 
making  a  splendid  reputation  in  his  work  and  was  loved  by  the 
whole  motion  picture  colony  because  of  his  gentle  character  and 
unfailing  kindness  toward  everyone  who  was  associated  with 
him.    His  death  is  a  distinct  loss  to  the  motion  picture. 

THE  past  month  also  saw  the  passing  of  one  of  the  most 
picturesque  figures  of  the  early  days  of  motion  pictures. 
Sigmund  Lubin  was  the  founder  of  the  once  famous  Lubin 
Company,  which  he  built  up  in  that  period  of  development 
when  pictures  were  graduating  from  the  fifty-foot  train  scene  to 
one-reel  dramas.  Many  of  our  best  known  directors  and 
players  of  today  started  in  his  studios.  He  was  one  of  the 
pioneers  who  blazed  the  trail  that  others  followed,  and  he 
accumulated  a  substantial  fortune.  Then  came  a  change  in 
methods.  The  one-reelers  ceased  to  satisfy  and  the  more 
progressive  producers  left  him  far  behind.  Bad  investments 
ost  the  kindly  old  man  his  fortune  and  when  he  died  he  was 
back  where  he  started,  conducting  a  little  optical  establishment. 

HAROLD  LLOYD'S  newest  laughograph,  "Why  Worry?" 
is  worth  the  price  of  admission  to  anyone  and  incidentally 
will  make  more  money  for  Harold  than  most  of  the  big  features 
which  are  coming  out  about  this  time.  I  recommend  it  to 
grouches,  dyspeptic  dispositioned  folks,  reformers  and  critics, 
censors,  neurasthenics,  hypochondriacs,  professional  prohibi- 
tionists, chronic  naggers,  unhappily  married  couples,  and  Ku 
Klux  Klanners.  It  made  me  forget  a  headache  caused  by  sit- 
ting through  "Dulcy." 

WITH  some  of  the  cleverest  artists  and  artisans  procurable 
working  in  the  technical  departments  of  the  studios,  it  is 
natural  that  the  motion  picture  should  have  a  tremendous 


influence  on  the  American  home.  There  have  been  many 
examples  of  bad  taste  in  the  interior  decorative  schemes  of 
pictures,  but  there  are  also  valuable  lessons  to  be  learned. 
Starting  in  the  next  issue  of  Photoplay,  William  J.  Moll  will 
write  and  illustrate  a  series  of  articles  in  which  he  will  guide  the 
readers  of  this  magazine  in  their  efforts  to  apply  in  a  practical 
and  inexpensive  manner  the  ideas  of  the  masters  of  interior 
decoration  who  are  devoting  their  energies  to  the  screen.  If 
you  take  a  pride  in  your  home  they  will  be  well  worth  your  close 
attention  and  application  to  your  own  surroundings. 

THE  REV.  THOMAS  DIXON  became  famous  because  his 
novel,  "The  Clansman,"  was  made  into  a  record-breaking 
classic  by  David  Wark  Griffith  under  the  title,  "The  Birth  of  a 
Nation."  Many  a  promoter  has  used  the  earning  power  of  that 
picture  to  lure  money  into  picture  companies.  Now  the  Rev. 
Mr.  Dixon  is  using  the  same  text  to  secure  investors.  In  a 
circular  letter  he  says:  "I  am  asking  a  limited  number  of 
persons  to  share  in  the  earnings  of  the  company  that  is  produc- 
ing 'The  Traitor.'  I  personally  believe  it  will  duplicate  the 
success  of  'The  Birth  of  a  Nation.'  artistically  and  financially." 
Rather  a  strong  claim  and  very  bad  taste.  Again  we  repeat — 
Do  not  invest  your  money  in  motion  picture  enterprises 
promoted  by  sale  of  stock  to  the  public.  Any  man  of  experience 
and  standing  in  the  motion  picture  business  can  secure  financial 
backing  from  the  regular  banking  sources  if  he  has  a  story,  a 
cast  and  an  organization  that  justify  it. 

CECIL  DE  MILLE  was  an  extremely  busy  man  during  the 
making  of  his  "Ten  Commandments."  Two  of  his  leading 
actors  in  the  film  version  of  the  Tablets  were  very  anxious  to 
see  him  concerning  some  of  their  work,  but  after  repeated 
efforts  gave  up  the  attempt  and  sent  him  a  note  saying  that 
Moses  and  Aaron  would  like  to  speak  to  God  for  a  moment. 
Then  they  wondered  why  they  got  no  reply. 

WHEN  we  think  of  some  of  the  excellent  work  Mae 
Murray  has  done  in  the  past  and  then  see  her  persist  in 
those  undraped  roles  such  as  she  has  just  perpetrated  under  the 
name  of  "The  French  Doll,"  we  are  puzzled  and  annoyed.  No 
one  is  criticizing  her  figure.  But  by  this  time  every  picture-goer 
in  the  world  is  thoroughly  familiar  with  every  line  of  it  and  it's 
getting  a  trifle  tiresome. 

MANY  are  the  stories  told  about  Julius  and  Abe  Stern,  who 
make  Century  comedies  and  who  are  now  celebrating 
their  twelfth  anniversary  as  producers. 

A  trade  paper  editor  was  discussing  their  work  with  them  and 
criticizing  them  rather  severely.  "As  comedies,  some  of  your 
stuff  is  a  joke,"  he  said.  Abe  was  indignant.  So  was  Julius. 
They  take  their  work  very  seriously. 

[  CONTINUED  ON  PAGE  IO3.] 

35 


As  if  to  drown  her  soul  in  melody, 

She  softly  plays — 
And  jrom  the  past  come  wraiths,  the  burning  loves, 

Of  other  days 


And  as  the  music  gently  dies  away, 

Too  sad  for  tears, 
She  sees  the  vision  of  the  might-have-been. 

The  vanished  years ! 


The  Loves  of  Pola  Negri 


"Always  I  have  sought  love"  she  says,  "and  always 
there  have  been  disappointments.  I  am  a  fatalist.  I  be* 
lieve  in  my  star.     It  is  my  fate  to  be  unhappy  in  love" 


WHEN  I  facetiously  asked  Pola 
Negri  in  Berlin  if  she  intended 
to  marry  Charlie  Chaplin,  she 
tossed  back  her  head  and 
laughed  heartlessly.  I  felt  a  pang  for  Charlie,  because  even 
a  comedian  would  not  care  to  get  a  laugh  like  that. 

When  I  met  her  in  Hollywood  I  reminded  her  of  her  merry 
laughter.  She  smiled  wanly.  "Ya-as,  I  laugh  there,  but  not 
here." 

"Ah,  I  have  much  trouble  since  I  see  you  in  Berlin,"  she 
nodded  ruefully.     "  I  suffer  much." 

The  Negri-Chaplin  romance,  in  which  the  press  gloried  for  so 
long,  is  ended,  definitely. 

"It  end," — Pola  snapped  her  fingers — "like  that!" 

"I  am  very  extreme.  It  is  terribl',  "  she  murmured,  with  a 
shadowy  smile  which  was  not  in  the  least  apologetic. 

"It  was  a  most  unhappy  affair.  The  truth  has  not  been 
told.  It  was  not  the  mad  love  that  the  newspapers  say.  Not 
at  all. 

"Charlie  appealed  to  my  mother  complex.  And  his  per- 
sonality interested  me.  I  study — I  study — and  then  I  study 
too  much!" 

A  naive  humor  tinges  her  ardent  brooding  nature.  She  is 
faintly  amused  by  herself  in  retrospect,  with  that  detachment 
necessitous  to  the  artist. 

Perhaps  she  loved  Charlie  more  than  he  loved  her,  she  smiles. 
But  she  doesn't  intend  to  say  so.  It  would  please  his  egotism 
too  much! 

Another  Evening,  Another  Mood: 

"Always  I  have  sought  love.  And  always  there  have  been 
disappointments.     So  now  I  am  cynical. 

"I  am  a  fatalist.  I  believe  in  my  star.  It  is  my  fate  to  be 
unhappy  in  love." 

Hard  to  believe  that,  looking  at  her.  She  was,  that  even- 
ing, the  gitana  incar- 
nate who  reads  her 
fate  in  the  cards,  her 
black  hair  bound 
against  the  pallor  of 
her  face  with  a  crim- 
son scarf,  a  Spanish 
shawl  flowing  vividly 
over  her  shoulders,  a 
rose  the  color  of  blood 
playing  restlessly 
among  pale  fingers — 
more  fascinating  than 
Carmen  —  and  more 
fatal,  because  intel- 
lectually whetted. 

In  the  fascination 
of  enchanting  women 
there  is  a  high  ele- 
ment of  danger.  Two 
things  are  needed  by 
the  true  man,  says 
Nietzsche,  danger 
and  play.  Therefore, 
he  seeketh  woman  as 
the  most  dangerous 
of  toys.  The  ecstasy 
of  one  of  Cleopatra's 
nights  was  heightened 
by  the  thought  of 
death  at  dawn. 


By  Herbert  Howe 


Pola  and  her  "Sharlie."     This  picture  was  taken  when  the  press,  the 

public,  and  even  the  famous  comedian  himself,  were  wondering  if  there 

was  going  to  be  a  wedding 


Beneath  the  silken  charm  of  Pola  Negri 
there  is  the  tigress-claw,  with  threat  of 
instinctive  cruelty. 

She  extended  the  rose  with  a  smile  of 
naive  enigma.  "Do  you  know  of  what  it  is  the  symbol?  It  is 
dangerous — filled  with  slow  torture. 

"  When  first  I  came  to  California  an  interviewer  ask  me  what 
is  the  dangerous  age  of  a  man  and  of  a  woman.  They  ask  such 
funny  questions,  so  naive!  I  told  him  I  did  not  know  the 
dangerous  age  of  man.  I  have  not  been  one.  The  dangerous 
age  of  a  woman  is  from  one  to  a  hundred." 

She  gives  a  true  glint  of  the  reason  for  the  break  with  Chaplin 
when  she  says: 

"Love  must  inspire  me  in  my  work  or  it  must  go. 
"Love  is  disgusting  when  you  no  longer  possess  yourself." 
She  is  utterly  ruthless  where  her  work  is  concerned,  ruthless 
even  toward  herself. 

It  is  for  her  the  grand  passion  to  which  all  emotions  must 
contribute  or  clear  out. 

Yet  she  once  sacrificed  everything  to  love — but  a  quite 
different  love  than  any  she  might  feel  for  le  petit  Chariot. 

She  has  no  regrets,  however,  concerning  the  Chaplin  inter- 
lude, "a  most  unhappy  affair"  though  it  may  have  been. 

"I  am  glad  for  every  experience  in  life.  There  is  nothing  I 
would  not  give  for  experience — nothing!"  she  exclaims  with 
a  sudden  fierce  ardor,  recalling  those  lines  descriptive  of  Michel- 
angelo, who  wrought  with  his  blood  the  beings  whom  he 
created — 

Piangendo,  amando,  ardeno,  e  sospirando — 
Ch'ajjeto  alcun  mortal  non  mi  e  piu  nuovo. 
"  Weeping,  loving,  burning  and  sighing — for  there  was 
no  human  emotion  which  he  had  not  felt."       » 

POLA  NEGRI'S  life  has  been  a  series  of  experiences  more 
dramatic  than  those  of  any  drama  in  which  she  could  ever 
play.     Hence,   the   truth   of  her   portrayals.      She  has  been 

cast  in  scenes  of  the 
most  horrible  suffer- 
ing, scenes  in  which 
she  utterly  collapsed, 
and  she  has  been  ac- 
corded triumphs  that 
few  women  of  her  age 
have  known. 

She  has  been  beat- 
en with  whips,  she 
has  fled  in  terror  from 
the  Cossacks,  she  has 
seen  her  father  exiled 
to  Siberia,  her  mother 
driven  insane,  her 
brother  killed  by  the 
black  plague.  She  has 
seen  with  the  eyes  of 
a  girl  the  most  de- 
moniac mutilations 
that  man  can  deal  to 
man  as  she  ministered 
to  dying  Russian  sol- 
diers during  a  period 
which  she  calls  "the 
loveliest  moment  of 
my  life." 

She  has  received 
the  attention  and  the 
gifts  of  royalty  while 
a  girl,  she  has  known 


37 


La  Negri  of  the  yesterday. 
A  tiger  woman  with  a  strtinge 
slow  smile  and  a  world-old 
lure  in  her  heavy-lidded  eyes, 

M  ustcriotis,    fascinating,     an 
en  iqma 


The  I'olu   Negri  of  today  — 
sophisticated,    sleek,    carefully 

voifj'vd.   phased   with  her  furs 

and  her  jewels  and  —  perhaps 

just  a  trifle — with  herself 


triumph  before  the  age  of  twenty 
as  an  actress,  she  has  been  hailed  in 
Europe  as  one  of  the  greatest  art- 
ists of  a  century  and  she  has  been 
received  by  America  with  an  ova- 
tion that  recalled  the  coming  of 
Bernhardt. 

And  always  she  has  been  courted 
by  men. 

C/i'dffeto  alcun  mortal  non  mi  e 
pin  n novo. 

SHE  has  had,  too,  the  experience 
of  marriage.     It  was  a  failure — 
save  as  an  experience. 

"I  do  not  believe  in  marriage," 
she  says  with  a  candor  that  will 
forever  differentiate  her  from  the 
politic  native  star.  "It  is  not  for 
me.  I  am  selfish, — no,  not  selfish, 
for  I  have  sacrificed  everything  for 
love — I  am  independent.  Freedom 
comes  before  everything.  I  am  a 
gypsy,  like  my  father." 

The  romance  with  her  husband 
typifies  a  spirit  impetuous  and  im- 
perious. 

She  had  paid  a  visit  to  her  home 
in  Warsaw  following  the  comple- 
tion of  "Du  Barry" — known  as 
"Passion"  in  America — when,  re- 
luming to  Berlin  to  start  another 

picture,  she  was  halted  at  thePolish  border,  the  customs  officials 
declaring  she  could  not  take  her  jewels  out  of  the  country. 
The  solution  seemed  easy.  She  offered  to  pay  a  tariff.  But 
the  officials  were  obdurate.  There  was  no  tariff  under  the 
new  law. 

Pola's  temper  exploded.  She  stormed.  She  had  to  leave 
for  Berlin  that  very  day,  that  very  hour.  She  was  starting  a 
picture  immediately.  Not  a  moment  could  be  lost.  But  leave 
her  jewels  she  would  not!  She  demanded  to  see  the  com- 
mandant of  the  district  at  once!  The  trembling  officials  led 
her  to  his  office. 

"I  burst  through  the  door  in  flames,"  says  Pola.  "I  could 
not  contain  my  rage.  The  commandant  arose  from  his  desk 
and  looked  at  me  with  surprise.  I  rushed  furiously  at  him. 
Then,  suddenly,  I  stop  dead.     My  God,  I  love  him! 

"Ya-as,"  she  mused,  "that  evening  I  dined  with  Count 
Eugene  Dombski,  commandant  of  Sassnowiece,  at  his  castle, 
my  jewels  around  my  neck.  I  spent  ten  days  there.  And  I 
couldn't  spare  a  moment  to  get  back  to  Berlin!  But  I  did  not 
care  what  happened  to  the  picture.  I  was  madly  in  love. 
Four  months  later  I  became  the  Countess  Dombski." 

The  marriage  was  little  mote  than  a  honeymoon.  In  less 
than  a  year  she  parted  from  htsr  husband. 


A  scene  from  "Passion,"  the  picture  that 

introduced  Pola  Negri  to  A  nierica.   That 

proved  her  the  emotional  actress  of  the  age 

— and  one  of  its  loveliest  women 


"That  is  to  be  expected  of  love 
that  comes  at  first  sight.  Such  love 
is  physical  attraction.  There  must 
be  mental  companionship  if  love  is 
to  be  real.  I  need  intellectual 
stimulus. 

"I  can  see  an  excuse  for  a  brain- 
less beautiful  woman,  but  for  a 
brainless  man  there  is  no  excuse. 
It  is  the  mentality  of  a  man  that 
interests  me.  Beauty  in  a  man 
without  intellect  merely  adds  to 
the  contempt  for  him. 

"I  loved  my  husband  very  much, 
but  he  could  not  give  me  the  in- 
terest that  my  work  gave.  After  a 
few  months  I  realized  my  work 
was  more  vital  than  such  love,  t 
went  back  to  it." 

BUT  once  Pola  made  a  different 
choice.    She  speaks  of  that  love 
with  less  freedom. 

"It  was  my  first  love,  my  great- 
est love,"  she  says  quietly.  "It 
was  platonic  love,  and  that  is  the 
greatest  love. 

"I  was  just  seventeen,  just  tast- 
ing the  wonderful  ecstasy  of  suc- 
cess.    It   was   during   my   second 
year    at    the    Imperial    theater    in 
Warsaw,  where  I  made  my  debut. 
"A  young  painter  came  to  me  and  asked  if  I  would  sit  for  a 
portrait.     It  meant  much  to  him.      He  was  struggling,  eager, 
idealistic,  visionary. 

"  As  I  sat  for  him  we  talked  of  art.  We  were  both  pitifully 
idealistic  with  our  illusions  about  life  and  love  and  success. 

"He  was  in  delicate  health.  I  knew  that.  It  did  not 
matter  ...  I  loved  him. 

"He  became  worse.  The  doctors  said  he  must  go  away  to 
the  country.  Without  a  moment  of  hesitation  I  went  with  him. 
"The  theater  managers  were  disgusted.  They  said  I  threw 
aside  my  chance  of  a  career.  My  friends  pleaded.  Even  my 
mother  sternly  forbade.  But  I  left  all — career,  friends,  com- 
fort, mother. 

"It  was  the  dreadful  quick  consumption.  I  saw  the  life 
going  from  him.  I  thought  I  could  save  him  somehow.  I 
had  overcome  so  much  by  my  will,  I  thought  I  could  even 
conquer  death. 

"Then,  one  night,  he  died.  He  died  in  my  arms.  .  .  . 
"I  was  crazed  with  grief.  All  that  I  had  in  life  was  swept 
away.  I  was  desolate.  Alone,  for  weeks  I  wandered.  I  had 
no  desire  to  return  to  the  theater,  to  my  friends,  or  even  to  my 
niothTrM-They^had  not  understood  my  Hove,  they  .'could  not 
undeFstand  my  sorrow.         -  [continued  on  page  117] 


38 


n 


Her  Daddy 

Calls  Her 


"Shrimp 

But  her  real  name  is 

Miss  Peggy 
Montgomery 

now  that  she's  a  star 


BABY  PEGGY'S  rise  has  been  meteoric;  less  than  five  short  years  ago  she 
was  such  a  sickly  infant -that  her  father,  then  a  forest  ranger,  took  her  into 
the  pine  woods  and  kept  her  there  until  her  health  became  normal.  When 
she  was  a  husky  two-year-old  she  made  her  film  debut  in  Century  Comedies 
and  her  unique  popularity  has  increased,  by  leaps  and  bounds,  ever  since.  Now 
she  is  almost  in  the  Coogan  class,  for  she  has  just  signed  a  contract  with  Sol  Lesser, 
of  Principal  Pictures.  She  affixed  some  sort  of  a  signature  to  the  papers  herself, 
and — after  it  was  all  over — she  cried  a  little,  just  to  show  that  she,  like  other  female 
stars,  has  a  bit  of  temperament.  Mr.  Lesser  estimates  that  four  pictures  a  year 
will  be  made,  at  a  total  cost  of  one  million  dollars,  and  that  Baby  Peggy's  share, 
in  salary  and  interest,  will  be  close  to  $200,000.  Part  of  this  amount  was  paid 
in  advance,  and  will  be  put  away,  as  a  trust  fund,  for  the  child. 

Baby  Peggy  works  in  the  studio  every  morning,  and  spends  some  time  each 
afternoon  with  a  governess.  She  knows  her  entire  alphabet  and  can  count  all 
the  way  to  a  hundred.  She  likes  to  romp,  but  she's  something  of  a  tom-boy,  for 
dolls  bore  her  unless  they  are  gowned  in  the  latest  fashion.  The  starlet  confesses, 
lispingly,  to  a  love  of  laces  and  ribbons  and  frilly  hats  and  tiny  fur  muffs.  She's 
all  woman — although  she  does  lack  the  maternal  instinct!  She  likes  to  go 
shopping  and — whisper  it! — every  week  she  receives  a  munificent  allowance  of 
four  dollars,  to  spend  just  exactly  as  she  chooses.  That's  a  lot  of  money  for  one 
small  girl! 

The  names  of  the  four  pictures,  for  this  year,  have  not  been  announced.  But 
it  is  said  that  they  will  be  adapted  from  famous  books.  Photoplay — this  is  a 
suggestion — would  like  to  see  Baby  Peggy  cast  opposite  Jackie  Coogan  in  that 
immortal  tragedy  of  love — and  extreme  youth — "Romeo  and  Juliet." 


i 


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39 


1911^          ■*■■>>/■■ 

•5                                                         viTk^'^"  ■  1  *s«J^^K 

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SON  -                     SH9 

&' ^uKwi\9  Ak^Efl  ^*  ■                      j| 

|B>  WLll^i                     HW                                      - 

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j|^                            B^H                            3| 

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■       '    1   .-W                  ^Pi               *S| 

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5fi» j  "^vN^Titt    "^H 

HnHjS          H0@3I9B      Gh  '.2>          "aSSP^^"    VJB 

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B^    '  v^ 

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Margaret  S.Sangster                        JL     rT  .C         ^, 

Spirit  of  the 

T  T1GH  on  a  cloud-hung  mountain  peak, 
The  camera  tensely  stands, 

"I  am  the  soul  of  it  all,"  the  voice 

Is  all  a-thrill  as  it  speaks — 

Doing  the  will  of  a  gleaming  soul, 

"I  am  the  spirit  of  forging  on, 

And  a  steadfast  pair  of  hands. 

I  am  the  brain  that  seeks. 

And  somewhere  out  of  the  misty  space, 

I  am  the  romance  of  all  the  world, 

Comes  a  voice  that  is  touched  with  tears, 

The  drama  and  tragedy, 

And  sweet  with  laughter,  and  brave  with  faith 

I  am  the  hope  and  the  vivid  trust, 

That  has  lived  across  the  years. 

That  the  earth-bound  seldom  see ! 

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m 


Motion  Picture 


Illustrated  by 

William   L.Dodge 


'Out  ot  the  dark  ot  the  centuries, 

The  phantoms  of  living  pass — 
Wars  and  hatreds  and  peace  and  love, 

Like  shapes  in  a  looking  glass. 
Factories  tower  through  wreaths  of  smoke, 

And  ever  the  tramp  of  feet 
Is  heard  on  the  dustless,  long  highway, 

Where  the  fates  and  passions  meet. 


"I  am  the  spirit  ot  it.   ..."  the  voice 
Goes  thrillingly  on,  until 
The  click  of  the  camera  is  caught 
By  its  boundless,  sturdy  will! 
"  I  am  the  garment  Progress  wears, 
The  soul  of  the  Youngest  Art — 
I  am  the  dearest  wish  that  lies, 

In  each  splendid  dreamer's  heart!" 


kl 


Count  Mario  Caracciolo  who,  as  Mario  Carillo,  is  in 
Norma  Talmadge's  new  picture,  "Dust  of  Desire." 
He  is  the  second  son  of  the  Duke  of  Melito,  of  Italy,  was 
eleven  //ears  in  the  Italian  army,  decorated  during  the 
great  war,  became  military  attache  at  his  embassy  at 
Washington,  and  has  an  American  wife,  the  daughter 
of  former  Assistant  Secretary  of  the  Treasury  Oscar 
Crosby 


Princess  Ouchtom- 
sky,  who  fled  from 
Russia  throng U 
Siberia  and  China, 
and  who  appears  in 
pictures  with  Con- 
stance Binney 


The  Duke  of 
Ducal,  cousin 
and  intimate 
friend  of  the 
King  of 
Spain,  fa- 
mous sports- 
iu  a  n  and 
li  cart-breaker, 
who  makes  his 
screen  debut 
in"The  Thief 
of  Bagdad" 
with  Douglas 
Fairbanks 


Gaston  Du  Val,  a  de- 
scendant of  the  long  line 
of  Bourbon  kings  of 
France,  who  has  a  s?nall 
role  with  Constance 
Binney  in  C.  C.  Burr's 
picture,  "  Three  0' Clock 
in  the  Morning" 


('mint  Charles  De  Rochefort,  whose  story  as  Charles  De  Roche, 
picture  actor,  is  told  on  ayiother  page  of  this  issue 


Some 

Good  Titles 

at  Last 


Sir  Gerard  Maxwell-Wil- 
shirc  is  another  titled  actor 
who  made  his  debut  with 
Constance  Binney.  He  is 
English.  His  former  wife 
was  an  actress  who  appeared 
in  "Afgar"  sowe  three  years 
ago 


Baron  Henri  Arnous  de  Idriere,  of 
France,  bears  an  illustrious  name.  He  is 
now  a  Canadian  ranchman  and  also  an 
actor,  appearing  in  Laurence  Trimble's 
" Strongheart"  pictures 


As  in  the  old  song  ahoid  the  sailor:  "I 
knew  he  was  a  noble,  'cause  he  had  such 
noble  legs."  This  is  Viscount  Glerawly, 
known  in  Hollywood  as  Pat  Annesley, 
son  of  Lord  Annesley,  of  the  Irish  peer- 
age. His  debut  is  in  "The  Ten  Com- 
mandments" 


43 


A  h'embrandtesque  study  of  grief  in  which  the  light  reflected 
from  the  lanterns  ploys  a  most  important  part 


.1  beautiful  "shot"  of  CoHnne  Griffith  which  gives  the  effect 
of  silhouette  without  the  usual  Joss  of  detail 


"Let  There  Be 
Light" 


WHEN  the  Great  Director  staged  the  opening 
scene  of  that  wondrous  drama,  "Humanity," 
ages  and  ages  ago,  he  said — "Let  there  be 
light!"  It  was  an  essential  of  the  drama  then. 
It  is  an  essential  of  the  drama  now.  And  it  will  be  a  first 
essential  in  ages  to  come.  It  is  a  permanent  member  of  the 
all-star  cast,  at  least,  so  far  as  the  motion  picture  is  con- 
cerned. And  no  history  of  the  development  of  the  motion 
picture  is  complete  without  the  part  that  light  has  played. 

It  is  a  great  actor — light.  And  it  is  an  important  one. 
Directors  are  taking  it  more  and  more  seriously.  It  is  even 
more  important  than  their  thousands-a-week  stars.  It 
never  gets  tired,  it  is  never  temperamental,  and  if  it  does 
blow  a  fuse  once  in  a  while,  that  is  easily  fixed. 

In  recent  years  the  art  of  lighting  for  pictures  has  made 
marvelous  strides,  but  it  is  a  mere  babe  in  the  category  of 
the  motion  picture  arts  as  yet.  Hardly  a  week  passes  that 
some  new  discovery  is  not  announced,  and  experimentation 
is  going  on  all  the  time  by  directors  and  lighting  experts. 
The  day  is  coming — and  coming  soon — when  the  light 
expert  will  be  as  a  skillful  painter,  using  light  rays  as  the 
artist  does  pigments. 

But  even  now  it  is  a  far  cry  from  the  glaring  sunlight  or 
monotonous  flood  light  of  only  a  few  years  ago  to  the 
beautiful  and  effective  lighting  of  today.  Gone  are  the  old- 
time  diff users,  which  were  like  window  shades;  the  mirrors 
covered  with  cheesecloth  with  which  light  was  directed  to  de- 
sired spots;  the  crude  silver  canvas  reflectors.  Almost  gone 
is  the  sun,  except  for  exteriors. 

But  given  the  artificial  light,  there  came  the  problem  of 
how  best  to  use  it.  And  it  is  in  this  direction  that  the 
greatest  advances  have  been  made.  Today  light  is  used  to 
make  drama  more  dramatic,  comedy  more  comic,  pathos 
more  pathetic,  tragedy  more  tragic.  It  can  be  directed  by 
skillful  hands  to  play  upon  the  human  emotions  as  a  violinist 
can  with  sound.  It  picks  out  the  vile  corners  of  the  dive, 
and  it  sends  holy  beams  through  the  windows  of  the  great 
cathedral. 

It  is  a  fascinating  study,  this  development  of  this  im- 
portant branch  of  a  great  industry,  and  it  responds  nobly 
to  all  efforts  to  widen  its  field.  It  is  a  protean  actor,  is  light. 
And  it  has  a  soul. 


Below,  ane  of  the  artistic  sets  designed  bij  Cedric  Gibbons  for 

"Six  Days,"  showing  what  expert  lighting  will  do.     At  the 

left,  the  morning  sunshine,  and,  at  the  right,  the  same  set  for 

on  evening  scene 


This  is  said  to  be  the  greatest  battery  of  lights  ever  assembled. 

It  was  used  to  photograph  the  great  ballroom  scene  in  "Ashes 

of  Vengeance,"  in  which  more  than  2,000  persons  appeared 

in  a  hall  380  feet  long 


The  artistic  use  of  lighting  to  emphasize  mood.     An  excej 
Hon  ally  fine  "shot"  of  Corinne  Griffith  in  "Six  Days" 


!- 

a»-  ,m 

■  _*± 

*^t    ~U'  r 

■^.jM> 

L" 

j/t^   ■  wtn 

Mf^0f-i 

v 

YmP^h 

wt 

! 

Here  are  types  of  the  lights  used.    From  left  to  right  they  are 

the  Creco  Broad;  the  35-ampere  "baby  spot";  the  70-ampere 

spot;  the  110-ampere  spot;  and  the  120-ampere  Sunlight  arc. 

The  human  light  is  Carmelita  Geraghty 


iH     ^^^^K  ->Yof  1 

c^Hj* 

2rlB 

Ik!        m 

HP>  ,^M 

K     >       ■ 

^6'^^^^H 

jj^JP 

fl 

!H  H     *■"<**.! 

^^MV»  ^1 

■fc^-. 

7?*-:  -»k.» 

BmY  u#er  aU  is  sow/  and  done,  Nature  does  its  own  lighting 

in   a  way  that  cannot  be  equalled  by  any  art  of  science. 

Electricity  cannot  produce  such  lights  and  shadows 

i,r> 


The  Life  Tragedy 

of  a 

Sennett  Beauty 


Ben   Turpin,  the  $2000-a-week  prize  beauty  of  the  Alack 

Sennett  gallery,  who  tells  how  it  feels  to  be  a  strabismic  Shriek 

at  fifty-seven  years  of  age 


or  How  to  Cultivate  Sex 
Attraction 


By  Herbert  Howe 


I  PRESSED  the  door  button.  And  waited.  1  pressed  again. 
Not  a  stir,  though  a  light  shone  through  the  tight-drawn 
shades.  Then,  as  I  turned  to  go,  the  lower  corner  of  a  window 
shade  lifted  furtively,  and  I  saw  peering  up  at  me  two  eyes 
that  looked  as  one. 

Need  I  add  that  I  was  at  the  portals  of  Chez  Turpin? 

For  several  minutes  the  eyes  looked  me  straight  in  both  ears 
until  the  lobes  tingled  as  though  pierced  for  pearls. 

Then  the  curtain  dropped.  A  pedal  patter.  A  great  clicking 
of  locks  and  shifting  of  bolts.  The  door  opened  narrowly  and 
out  shot  a  head  like  a  Jack  in  a  Box. 

'  'Lo,"  it  Croaked,  "  'lo.    Been  waitin'  up  for  you." 

"What  time  is  it?"  I  asked  apologetically. 

"Almost  nine,"  croak,  croak.    "Cm  in." 

Stepping  across  the  threshold  I  was  in  the  presence  of  Ben 
Turpin,  the  Mack  Sennett  beauty,  famous  as  the  Shriek  of 
Araby.  He  towered  to  the  romantic  height  of  my  top  vest 
button,  with  his  neck  fully  stretched.  His  head  juts  up  like  a 
turkey  gobbler's.  It  looks  to  me  as  though  his  neck  had  in- 
tended to  stop  and  form  a  head  at  the  Adam's  apple,  but, 
suddenly  growing  ambitious,  had  abandoned  the  original  plan 
and  shot  on  up  to  the  present  knobby  eminence.  As  a  result, 
there  is  an  intense  rivalry  between  the  head  and  the  apple,  both 
for  size  and  animation. 

Ben  would  make  a  lovely  gargoyle  for  a  cathedral,  except  for 
his  language.  He  grows  extremely  Biblical  at  times  when 
things  go  wrong.  Ordinarily  he  is  good-natured.  He  feels  he  is 
too  good-natured.  They  don't '  treat-him  with  no  respect.  It 
grieves  him.     Ben  is  a  serious  .comedian. 

"They  don't  treat  a  comedian  with  no  respect  any  more,"  he 
deplores.    "It  hurts.    I'm  sensitive,  I  am. 

IS 


"  If  they  treated  a  five  thousand  dollar  race  horse  like  they  do 
a  comedian  he'd  go  blooey.  But  they  don't  treat  no  five 
thousand  dollar  race  horse  like  they  do  a  comedian." 

There  was  almost  a  sob  in  his  croak.  The  sob  of  an  artist 
unappreciated. 

"They're  always  having  me  run  and  doing  falls.  I've  done 
more  falls  than  any  acrobat  alive.  Falls!  I've  done  so  many 
falls  I  can't  stand  the  sight  of  a  sidewalk.  I'm  sensitive,  I  am. 
They  don't  treat  a  comedian  with  no  respect. 

"  I  can't  stand  falls  like  I  used  to.  I'm  fifty-seven  years  old." 
His  croak  became  emotionally  husky  again,  though  he  tossed 
his  white  mane  proudly — a  mane  on  a  knobby  head,  like  the 
tassel  on  corn. 

He  had  conducted  me  to  his  den,  pattering  ahead  in  his 
brown-stockinged  feet.  It  is  his  custom,  I  take  it,  to  remove 
his  shoes  promptly  after  the  final  dinner  course. 

The  den  was  what  you  might  expect  of  a  cross-eyed  sheik. 
From  the  walls  the  beautiful  eyes  of  countless  sirens  focus 
fondly  on  Ben,  each  fancying,  no  doubt,  that  Ben's  glance  is  for 
her  alone.  In  reality,  his  gaze  is  fixed  steadily,  though  cir- 
cuitously,  upon  his  wife. 

When  he  entered  the  lists  as  a  rival  of  Valentino,  and  the 
theaters  advertised  "The  Shriek  vs.  The  Sheik,"  Ben  haughtily 
called  attention  to  the  fact  that  he  has  held  one  woman  for 
seventeen  years,  which  was  more  than  Valentino  could  say. 

You  may  think  this  a  jest,  but  Ben  doesn't.  He's  incredibly 
serious,  as  serious  as  Merton.  When  he  stoops  to  jest  it  is  with 
>  <>bvious* condescension;  there's  nothing  funny  about  it. 

When  I  referred  to  his  competition  with  Valentino,  he  smiled 
deferentially. 

"Oh,   I   don't   pretend   to  be   no  Valentino,"  he  chortled 


modestly.  "He  does  his  stuff  and  I  do  mine.  There's  room 
for  both  of  us,  I  figger.  There's  room  for  ail  of  us  in  this 
bizness." 

The  women  are  crazy  about  him.  He  admits  it.  Ever  and 
anon  he  makes  shy  reference  to  his  fan  mail,  "mostly  from 
women." 

He  accounts  very  simply  for  this.  It's  the  old  sex  at- 
traction. 

"An  actor's  gotta  have  sex  attraction  these  days,"  he  croaks 
solemnly.  "I  don't  claim  to  be  no  Valentino — I'm  fifty-seven 
— but  I'm  gettin'  just  as  big  bizness  in  some  places.  That's 
what  gets  me.  I  make  'em  the  money,  but  they  don't  treat  a 
comedian  with  no  .  .  ." 

I  hastily  interrupted  to  ask  if  his  eyes  had  always  been  as 
sexy  as  they  are  at  fifty-seven. 

Ben  bounded  up,  gestured  for  me  to  follow,  and  away  we 
pattered  to  the  front  room.  He  switched  on  the  front  room 
lights.  It  was  a  regular  front  room  with  rose  drapes,  blue  and 
rose  shade  on  a  gilt  lamp,  mahogany  table  and  a  mantel 
adorned  with  objets  d'art,  including  the  photograph  of  a  Young 
Man  in  a  Wing  Collar,  not  a  bad  looking  young  man — quite  a 
'andsome  'Arry,  in  fact — with  a  slim  neck  arising  like  the 
Eiffel"Tower  from  a  highly-polished  collar  and  crowned  by  a 
highly-pomaded  dome. 

"That's  me,"  exhibited  Ben,  with  an  attempt  at  modesty. 
"Taken  in  N'Orleani  when  I  was  nineteen." 

The  dark  eyes  of  the  youth  looked  squarely  at  me. 

"But  them  eyes,  Ben!"  I  gasped.  "Them  eyes  are  straight." 

"Sure,"  he  croaked.    "That  was  afore  I  crossed  'em." 

I  learned  then  of  the  sacrifice  Ben  had  made  on  the  altar  of 
art.  He  was  not  born  optically  askew.  He  crossed  'em  for 
art's  sake  while  playing  the  character  of  Happy  Hooligan  on 
the  vaudeville  stage  over  thirty  years  ago.  He  made  as  many 
as  ten  crosses  a  day.  One  day  they  didn't  untwine.  His 
fortune  became  permanent. 

Since  Nature  did  not  endow  Ben  with  this  baffling,  enig- 
matic expression,  as  it  did  Rodolph,  it  seems  to  me  he  deserves 
a  great  deal  more  credit  as  a  sex  attraction. 

Ben,  like  all  our  sheiks,  admits  he  came  of  noble  family,  the 
very  flower  of  French  aristocracy  in  New  Orleans. 

"My  grandfather,"  he  says,  with  a  touch  of  old-world 
pride,  "was  the  best  auctioneer  in  Loozyana.  And  my  old 
man  kept  a  candy  story  'til  he  went  broke." 

It  was  after  his  father's  failure  in  trade  that  Ben,  like  many 
another  scion  of  nobility,  was  forced  to  the  stage.  Then  com- 
menced the  long  series  of  falls  that  landed  him  in  his  present 
position  and  gave  him  his  poignant  aversion  to  sidewalks. 

He's  a  rich  man  at  fifty-seven,  a  millionaire,  perhaps.  Next 


"Meet  the  wife,"  says  Ben,  introducing  the  lady  whom  he  has 
held  fascinated  for  seventeen  years 


The  Shriek,  in  more  or  less  modern  attire,  puts  his  theory  of 
sex  attraction  into  practice  with  Mmlch  ine  Ifurlock 


to  his  home  in  Hollywood  he  is  erecting  an  apartment  house, 
and  he  has  many  other  property  investments  around  Los 
Angeles  that  represent  solid  values. 

His  fame  is  world-wide.  Tributes  to 
his  genius  pour  in  from  everywhere.  If 
you  have  seen  "  Where  Is  My  Wander- 
ing Boy  This  Evening"  you  will  recall 
that,  in  carving  a  fowl,  Ben  dropped 
his  bow  tie  in  the  soup.  It  was  a 
tragic  moment  that  touched  the  heart. 
A  few  days  ago  Ben  received  a  big 
card  fastened  with  six  brilliant  Grip 
Bow  ties  from  the  Grip  Bow  Tie  Co.  of 
Omaha,  with  an  apologetic  letter,  say- 
ing: "Several  members  of  this  firm 
who  recently  saw  your  excellent  pro- 
duction were  genuinely  distressed  over 
the  fact  that  you  lost  your  Grip  Bow 
tie  in  the  soup.  W7e  have  therefore 
made  up  a  selection  of  offerings,  ex- 
pressly for  your  own  use,  which  we  are 
enclosing  herewith." 

Such  tokens  of  esteem  make  up 
somewhat  for  the  respect  a  comedian 
don't  get  no  more. 

But  that  which  Ben  desires  above  all 
else  is  denied  him — a  daughter.  He 
offered  to  adopt  his  brother's  child,  to 
educate  her  in  the  best  finishing  school 
and,  at  the  age  of  twenty-one,  to  en- 
dow her  with  twenty-five  thousand 
dollars.    The  offer  was  gently  refused. 

[  CONTINUED  ON  PAGE  121  1 


47 


What  makes  them  Stars? 


"Lure! 


11 


Says  Fred  Niblo 


Barbara  La  Marr — as  artificial  and  enticing  as 

a  Parisian  perfume.     Vivid,  vital,  definite — yet 

ultra-civilized 


Fred   Niblo — director   of   "Blood   and   Sand," 

"The     Three    Musketeers"    and    other    great 

pictures,    who    analyzes    the    attraction    of  the 

younger  actresses 


Mae  Busch — she  spells  temptation.     A   man 

might  cut  her  throat,  but  he  would  never  tire  of 

her.    Sex  with  her  is  a  challenge 


THE  only  business  of  an  actress  is  to  give  herself  on  the  screen 
so  that  she  may  win  the  love  or  the  admiration  of  the  whole 
world. 
The  average  woman's  business  is  to  win  and  hold  one  man. 
The  screen  star  has  to  win  and  hold  millions.     That  is  the  only 
difference. 

Sixty-five  percent  of  the  success  of  a  screen  star  is  based  upon 
personality.  Thirty-five  upon  ability  to  act.  This  is  the  public's 
own  decision. 

The  public  wants  personalities  to  love,  to  admire,  to  thrill  over. 
Personalities  that  supply  the  hidden  longings  and  imaginings  of 
(very  heart.  The  greatest  necessity  for  acting  is  to  be  able  to  register 
this  personality  upon  the  screen. 

In  the  past  year  or  two  a  great  change  has  come  over  the  public 
taste  in  screen  personalities.     It  has  not  forsaken  its  old  favorites, 

h8 


1^  ^k> 
*  • 

St 

1 

:  iflH 

Nita  Naldi — the  last  word  in  prim- 
itive, pagan,  obvious,  mature  lure  of 
woman.  A  splendid  creature  in 
bod//;  an  utter  pagan  in  mind 


but  the  new  ones  are  chosen 
from  a  different  basis. 

I  wish  I  knew  a  different 
word  for  sex  appeal.  But  I 
don't.  And  sex  appeal  need 
not  necessarily  be  coarse  or 
crude.  The  appeal  of  woman 
for  man  and  man  for  woman 
has  many  phases.  Woman 
awakens  the  protective,  the 
brave,  in  a  man  many  times. 
Man  awakens  the  mother  in 
woman. 

At  any  rate,  to  anyone  who 
studies  screen  conditions  to- 
day, sex  appeal  seems  to  be  the 
chief  requisite  of  the  screen 
idols  of  the  moment. 

This  is  proven  by  a  glance  at 
the  people  public  favor  has 
taken  from  obscurity  and,  by 
popular  choice,  made  reigning 
favorites.  Rodolph  Valentino 
is  the  best  example  of  this.  I 
have  directed  Ruddy  and  he  is 
a  very  clever  artist.  A  good 
actor.  But  he  is  by  no  means 
clever  enough,  or  good  enough, 
— by  no  means  so  much  greater 
than  any  other  actor — -that  he 
should  be  set  upon  such  a  lofty 
pinnacle  merely  because  of  his 
ability.  No,  Valentino  has  a 
tremendous  and  irresistible  lure 
for  women,  and  it  may  as  well 
be  acknowledged. 

The  audiences  of  today,  you 
see,  cannot  be  satisfied  with 
the  moderate,  unseasoned,  of- 


Leatrice  Joy — like  a  perfect  dinner — exquisite  and 

yet  leaving  you  unsatisfied.     The  mysterious  lure 

of  forbidden  fruit 


Lila  Lee — the  lure  of  the  first  kiss — 
that    virginal,    shy,    hungering    kiss 
that  is  never  duplicated.     The  bud- 
ding flame  of  adolescence 


Marguerite  dc  la  Matte — the  perfect 
llapper    but,  above   all,  an    actress. 
Coaxing,  cajoling,  harrowing,  devil- 
ing you  always 


ten  unreal  fare  of  yesterday. 
The  conventional  Dolly  book 
heroine,  the  unvarnished  but 
manly  hero,  have  slipped  into 
the  past. 

I  believe  this  is  because,  in 
spite  of  the  censors,  we  are  no 
longer  making  pictures  for  the 
live-year-old  intellect.  While 
we  are  bound  by  censorship,  we 
have  progressed  to  a  place 
nearer  the  stage  in  that  we 
have  portrayed  on  the  screen 
the  real  drama  of  character,  of 
actual  human  problems,  of  real 
things.  Consequently,  the  mo- 
lion  picture  is  drawing  people 
of  more  intelligence,  of  broader 
understanding  of  life,  and  of 
more  sophisticated  demands. 

These  people  want  personal- 
ities that  have,  to  be  a  bit 
slangy,  more  spice  to  them. 

Also,  in  the  beginning,  prac- 
tically all  the  picture  fans  were 
women.  Today,  after  careful 
investigation,  I  believe  that  a 
very  large  percentage  of  men 
attend  pictures.  And  this  has 
changed  materially  the  type  of 
screen    actress   who   succeeds. 

For,  strangely  enough, 
women   are  always  interested 

[  CONTINUED  ON  PAGE  1 1 6  ] 

-',9 


Scattered  about  the  600  acres  of  the  ranch 

are  several  of  these  charming  dressing 

room  bungalows,  ready  for  use  whenever 

needed 


A      turbulent      mountain     stream      was 

dammed   to   make   this   swimming  and 

iriiut  poo1,  WOO  feet  above  the  level  of  the 

sen 


CA 

DeMille 
"Paradise" 


Up  in  the  Sierra  Madre 
Mountains,  twenty  miles 
from  Hollywood  and  the 
studios,  Brother  Cecil 
has  built  this  picturesque 
rest  cure 


Cecil  De  Mille's  favorite  musical  instrument  is  the 
pipe  organ.      This  is  "organ  corner"  on  his  "Para- 


dise 


ich 


And  after  walking  over  the  600  acres,  swimming  in  the 

pool  and  hearing  an  organ  recital,  this  is  a  setting  for  a 

guest 


oil 


M.  Charles  DeRoche 


A  real  hero  of  romance  who  gave  up  a  French 
title  and  a  great  fortune  to  gratify  his  love  of 
acting.     A  hero  of  the  war  and — a  real  man 


By 

Adek 

Rogers 

St.  Johns 


YOU  have  probably  heard  of  Monsieur  Charles  DeRoche 
already. 
If  not,  you  soon  will. 
And  there's  a  treat  in  store  for  you. 

Because,  besides  being  distinctly  good  to  look  upon  and  hav- 
ing all  sorts  of  fascinations,  this  young  Frenchman  is  an  actor. 

Charles  De  Roche  is  the  French  actor-athlete-war-hero  im- 
ported by  Paramount  to  fill  the  vacancy  left  in  their  ranks  by 
the  abdication  of  one  Rodolph  Valentino. 

Naturally,  everybody  heard  this  and  giggled. 

The  whole  industry  was  trying  to  find  a  successor  to  Rudy. 
It  was  the  favorite  indoor  sport  of  Hollywood  and  New  York. 
Not  to  mention  numerous  young  barbers  throughout  the  nation 
who  suggested  themselves  for  the  place. 

Now  it  is  an  absurd  and  impossible  thing  to  fill  anyone's 
shoes — that  is,  when  those  shoes  have  fitted  a  particular  public 
idol. 

Paramount  lost  a  large  fortune  trying  to  produce  another 
Mary  Pickford. 

But  it  is  undoubtedly  true  that  the  death  of  Wallace  Reid, 
the  abrupt  departure  into  outer  darkness  of  Rudy  Valentino 
at  the  height  of  his  popularity,  the  long  screen  absence  of  Bill 
Hart,  have  left  an  aching  void  somewhere  at  the  top  of  the 
movie  constellation. 

We  need  new  idols  to  worship,  that  is  all. 

Monsieur  De  Roche  is  the  choice  of  the  people  who  made 
Wallace  Reid  and,  largely,  Rodolph  Valentino.  He  has  been 
given  some  superb  parts  to  play — some  of  the  really  great  act- 
ing parts  of  the  year,  such  as  the  Hindoo  in  Pola  Negri's  "The 
Cheat,"  the  Pharaoh  in  Cecil  De  Mille's  "Ten  Command- 


ments," and  the  Faun  in  William  de  Mille's  "The  Marriage 
Maker." 

Naturally,  I  was  tremendously  interested  to  see  what  this 
young  man  had  to  offer.  What  distinctive  appeal  he  could 
give. 

It's  very  simple. 

Do  you  remember  when  you  were  sixteen  and  you  curled  up 
on  the  sofa  and  ate  chocolates  and  read  all  sorts  of  exciting  and 
romantic  tales?  When  you  lived  in  all  sorts  of  beautiful 
worlds,  out  of  story  books? 

You  were — maybe  you  are — too  young  to  accept  the  bald 
realism  of  the  day.  You  refused  sophistication  and  dis- 
illusionment and  ennui — at  least,  in  your  favorite  novels. 

In  those  days,  you  fell  in  love  with  the  dashing  hero  of  every 
book  you  read.  The  young  American  battling  in  far  lands  to 
save  the  throne  of  a  Princess.  The  gallant  knight  setting 
forth  with  his  lady's  scarf  upon  his  helmet.  The  ragged 
rhymster  aspiring  to  be  King  of  France. 

Do  you  remember? 

I  do. 

Well,  Charles  De  Roche  is  that  hero. 

He  is  Monsieur  Beaucaire. 

He  is  Francois  Villon. 

He  is  Charles  Brandon  and  the  Scarlet  Pimpernel. 

There  is  picturesqueness  about  him.     There  is  romance. 

He  seems  to  me  to  combine  that  clean,  wholesome  strength 
that  was  Wallace  Reid's,  with  the  continental  allure  of  Valentino. 

He  has  the  physique  which  we  love  to  think  is  typically 
American — the  broad  shoulders,  the  slim  waist,  the  light, 
graceful  movements.  [  continued  on  page  119  ] 

51 


*  m 

» 

V 

1 

^             1 

* 

.^flfjlf 

mm 

JtB 

Sr^fl  1 

Betty  6? 

By 

Adela  Rogers  St.  Johns 


M 


Sweetness  is  (he  keynote  of  Hetty  Compson's  personality 


OSTLY,"  said  the  girl  behind  the  counter,  "I  don't 
trust  these  here  sweet  women.  But  Betty  Compson 
is  so  darn  real." 

I  might  write  you  pages  of  flowery  English  or 
books  of  sonnets  without  improving  on  my  little  shopgirl 
friend  a  bit. 

And  she  has  waited  on  Betty  Compson  for  three  years, 
about  the  time  that  Betty  swept  to  fame  with  that  screen 
masterpiece,  "The  Miracle  Man." 

Then  she  was  a  little  comedy  girl — a  Miss  Nobody.  An 
overnight  discovery.  Her  clothes  were  a  bit  shoddy  and  her 
manner  self-conscious  and  shy.  But  we  were  all  bowled  over, 
even  then,  by  her  sweetness. 

Now  after  these  years — years  when  everybody  has  been  tried 
in  a  whole  lot  of  fire,  years  of  hard  work  and  hard  play  and  con- 
stant growth — we've  found  out,  just  as  the  little  girl  behind  the 
counter  found  out — that  Betty  Compson  is  darn  real. 

The  sweetness  is  the  surface  keynote  of  her  personality. 

The  reality  is  the  deep  keynote  of  her  character. 

The  si  urdy,  fresh,  invigorating  sweetness  of  ripe  strawberries. 

The  bright,  heart-warming  reality  of  a  wood  fire.  The  joy- 
ous reality  of  a  child  romping  in  the  sunshine.  The  bitter, 
tragic  reality  of  a  woman  weeping  for  her  lover. 

You  see  the  sweetness  in  those  starry,  sparkling  eyes — blue, 
blue  eyes.    In  the  upward  curve  of  the  rather  large  mouth. 

52 


In  the  eager,  interested,  warm  ex- 
pression of  her  face.  The  drawling, 
flexible  tones  of  her  voice. 

And  the  reality — oh,  I  don't  know 
— in  a  lot  of  little  things,  and  in  the 
few  big  ones. 

Just  for  instance,  Betty  hasn't 
changed  a  bit  really  since  the  old 
days  on  the  Christie  lot.  Oh  yes — 
more  polished.  More  sure  of  herself. 
More  exquisitely  gowned  and  coif- 
fured  and  manicured.  A  woman  of 
the  world,  now. 

But  Betty  still  likes  to  reminisce 
about  those  old  days.  She  never  for- 
gets anyone  she  knew  then.  Her 
Christmas  card  list  holds  more  names 
from  the  past  than  from  the  present. 
She  doesn't  forget  the  days  when  she 
was  broke  and  "  hired  out "  as  a  nurse 
girl.  She's  proud  of  it.  She'll  tell 
you  voluntarily  about  the  time  when 
she  was  getting  her  education  and 
used  to  help  herself  and  her  family 
out  summers  by  waiting  table  at  a 
summer  hotel  with  some  other  college 
girls.  Fame  and  fortune,  so  quickly, 
miraculously  won,  haven't  given  her 
a  touch  of  the  proverbial  swelled 
head. 

•  Why,  I've  known  Betty  to  wait  for 
an  hour  in  line  in  front  of  a  movie 
theater  in  Los  Angeles  to  see  a  pic- 
ture, when  the  merest  whisper  of  her 
name  at  the  box  office  would*  have 
brought  managers  out  to  erect  special 
seats  for  her  if  necessary. 

I  remember  one  night  when  we  all 
stood  in  line  and  somebody  suggested 
Betty  go  to  the  window  and  tell  them 
who  she  was. 

"  Oh,  I  couldn't,  "said  Betty,  flush- 
ing scarlet.  "Walk  up  there  and  say 
I'm  Betty  Compson?  Why,  I'd  feel 
like  (he  girl  ought  to  say, 'Oh,  are  you?  Well,  what  about  it?' ' 
The  kid  comes  out  in  Betty  when  she's  with  her  mother.  She 
will  beg  pathetically  for  mother  to  go  into  the  big  white  kitchen 
and  cook  some  real  fried  chicken,  or  make  some  real  cookies,  or 
bake  some  real  biscuits.  Then  she'll  scold  her  mother  vigor- 
ously for  overworking,  because  mother  just  can't  trust  servants. 
That's  why,  I  suppose,  you  get  such  a  sensation  of  home  about 
Betty's  beautiful  new  $75,000  house  on  Hollywood  Boulevard. 
When  I  think  of  Betty  Compson,  I  never  lose  sight  of  a  signifi- 
cant and  memorable  conversation  I  had  with  the  late  George 
Loane  Tucker,  the  day  after  "The  Miracle  Man"  was  released. 
He  told  me  how  Betty  came  to  see  him  at  his  club.  It  was 
late  afternoon  of  a  cold,  drizzly  day.  Betty  had  been  working 
hard.  No  shop  girl  was  ever  more  tired.  Mentally  and  physi- 
cally, she  was  so  near  the  breaking  point  that  she  was  abso- 
lutely natural.  Too  low  to  make  the  slightest  effort  to  please 
or  to  ensnare.  And  in  that  girl,  the  great  director  saw  "a  real 
woman," — that's  the  phrase  he  used.  I  can  imagine  Betty 
Compson  doing  anything  that  was  perhaps  passionately,  hu- 
manly, strongly  wrong.  I  can  imagine  her  feeling  any  emotion 
that  a  woman  can  feel — from  Juliet  to  Nora  Helmer.  But  I 
just  can't  imagine  Betty  Compson  doing  anything  unkind  or 
petty  or  unfair. 

Because,    after   three   years,    my   own   judgment    confirms 
George  Loane  Tucker's  that  Bettv  Compson  is  "  a  real  woman." 


Jobyna 


This  famous  writer  knows 
women  better  than  Elinor  Glyn 

and  Leonard  Merrick  put 
together.    When  she  says  that 

Betty  and  Jobyna  are  real, 
you  may  consider  the  question 

settled.    And  that's  that ! 


JOBYNA  RALSTON  is  like  the 
refrain  of  an  old-fashioned  song. 
If  there  is  anything  I  partic- 
ularly detest,  it  is  poetical  quota- 
tions. 

If  anybody  puts  one  on  my  tomb- 
stone, provided  I  have  such  a  luxury, 
I  guarantee  now  to  haunt  'em. 

Nevertheless,  Jobyna  sent  me  away 
idiotically  and  sentimentally  singing 
something  about  "She  blushed  with 
delight  if  you  gave  her  a  smile,  And 
trembled  with  fear  at  your  frown." 

Certainly  I  had  no  intention  of 
being  poetical.  Nothing,  indeed, 
could  have  been  farther  and  farther 
from  my  thought. 

It  was  raining,  and  when  I  drive 
on  wet  pavements  my  flivver  behaves 
like  a  hooked  trout.  My  hair  always 
comes  out  of  curl  in  the  rain  and 
looks  like  the  decrepit  innards  of  an 
ancient  mattress. 

My  best  point  is  my  feet,  and  when 
I  am  wearing  rubbers  I  am  at  about 
the  same  disadvantage  as  a  naval 
officer  in  cits. 

Furthermore,  I  cannot  abide  fish 
and  it  was  Friday  and  I  had  been 
lunching  with  Colleen  Moore.  Of 
course  they  had  to  have  fish,  but  they 
didn't  have  to  have  jello  for  dessert. 

I  said  to  myself:  "This  young 
person  will  have  to  step  some  if  she 
makes  any  hit  with  me.  My  present 
desire  is  to  tear  her  limb  from  limb, 
to  rend  her  utterly.  I  hate  ingenues." 

I  gave  Jobyna  all  that  handicap,  and  I  came  away,  babbling 
little  rhymes  and  trilling  little  songs,  all  about  the  gambolling 
lambs  and  the  primroses  by  the  limpid  brook — I  admit  it. 

One  no  longer  sighs  for  thrones  and  diadems.  Even  fame,  it 
seems,  has  its  thorns.  But  oh,  sang  I,  to  be  eighteen  and  just 
fresh  from  Tennessee,  and  pretty.  I  tell  you,  there's  not  much 
you  wouldn't  trade  for  it — sometimes. 

There  were  a  lot  of  aspirants  to  the  position  of  Harold  Lloyd's 
new  leading  lady.  Not  only  that  Bebe  Daniels  and  Mildred 
Davis,  the  only  two  girls  to  occupy  that  place  so  far,  have 
become  stars  at  their  graduation.  But  Harold's  such  a  nice 
boy  and  everyone  wants  to  work  with  and  for  him  if  they  can. 
His  selection  of  Jobyna  Ralston  surprised  a  lot  of  wise  ones. 

"Who,"  quoth  they,  "in  heaven's  name,  is  Jobyna  Ralston?" 

Well,  she's  a  little  girl  came  out  to  Hollywood  a  couple  of 
years  ago  to  go  in  pictures.  She  walked  onto  the  Roach  lot 
one  afternoon — and  she's  never  walked  off,  professionally  at 
least.  She  played  extras  a  while — then  was  elevated  to  leads 
in  two-reel  comedies.  And  for  a  year  or  more  Harold  has  been 
grooming  her  for  his  own  productions. 

Not  one  of  those  sudden  "finds"  that  are  just  as  abruptly 

lost   again.      Nor  a  newly   discovered   comet   that   somehow 

unaccountably  quits  scintillating  in  the  middle  of  a  big  pic- 

!  ture.    Just  a  hard  worker  who  knows  what's  expected  of  her 

and  who  responds  at  precisely  the  right  moment. 


Edwin  Bower  Hesser 


Jobyna  Ralston  is  the  early  springtime  of  the  South 


She  lives  very  quietly  with  her  mother  and  she's — well, 
Jobyna  is  so  Southern  (and  if  the  linotype  operator  or  the  proof 
reader  takes  that  capital  S  out,  I'll  murder  him)  she's  right 
surprised  to  find  out  there  is  anything  north  of  the  Mason- 
Dixon  line.  She  says  "you-all"  and  "honey-chile"  and  "go 
'long  now" — and  she  doesn't  know  that  isn't  the  way  every- 
body talks.  And  no  one  would  want  to  tell  her  it  isn't,  either. 
Trying  to  alter  her  speech  would  be  just  about  as  foolish  as 
extracting  the  perfume  from  a  rose. 

She  has  an  almost  naive  way  of  expecting  the  -world  to  take 
her  as  she  meets  it — frankly,  simply.  And  the  surprised 
world,  recovering  from  its  confusion,  does  its  prettiest  to  re- 
spond to  her  artless  advances. 

She's  the  sort  of  girl  that  can  make  you  write  love  letters  and 
sign  your  real  name,  if  you  know  what  I  mean.  I  don't  know 
whether  she's  got  a  brain  in  her  head,  but  brains  are  just  excess 
baggage  to  girls  like  Jobyna.  They've  got  a  sixth  sense  that 
covers  more  ground  than  the  collective  brains  of  Congress. 

If  she  can  get  over,  on  the  screen,  what  she  got  over  to  me  in 
that  tiny  bungalow  sitting  room — watch  that  girl,  that's  all. 
Because  the  Nile,  and  the  romantic  slopes  of  Spain,  and  even 
the  boulevards  of  Paris,  haven't  got  anything  on  Tennessee 
when  it  comes  to  women  that  can  stand  a  nation  on  its  ear. 

I  don't  know  what  to  call  it — but  whatever  it  is,  Jobyna's 
got  it. 

53 


Photoplay's  Hollywood  Astronomers 


Adela  Rogers  St.  Johns 


"Our  Adela" 

By  Herbert  Howe 


They 
tyaow 
more 
about 
Hollywood 

and 

its 
stars 
than 

any 
other 

two 

persons 

in 

the 
world 


Herbert  Howe 


u 


Our  Herb 

By  Adela  Rogers  St  Johns 


«n 


SHE'S  the  most  temperamental  star  in  Hollywood. 
The  Lasky  studio  was  pale  and  shaken.     The  members 
of  the  publicity  department  were  draped  in  attitudes  of 
marts  red  saints.     It  was  as  though  some  hell-roaring  tornado 
had  swept  through  the  place. 

"What's  happened?"  I  queried.  "Has  some  one  thrown  a 
cat  at  Pola?" 

Arch  Reeve,  publicity  director,  stared  wall-eyed  from  out 
his  two  hundred  and  fifty  pounds  of  quivering  form. 

"No."  he  shuddered.  "One  of  the  new  fellows  in  the  depart- 
ment talked  back  to  Adela!" 

I  gasped.  "To  what  undertaking  parlor  have  they  taken 
him?" 

The  only  response  was  a  low  moan  from  the  swooning  saints. 

If  you  pool  the  volatility  of  Tola,  the  chief  features  of  a 
Mack  Sennett  sylph,  and  the  literary  energy  of  Alexandre 
Dumas  pere  you  will  gain  a  faint  conception  of  Adela  Rogers 
St.  Johns. 

You  would  never  recognize  her  as  an  authoress.  Her  com- 
plexion's too  good  and  her  ankles  too  trim.  Yet  she  can  reel 
off  more  romantic  copy  than  Dumas  and  his  regiment  of  aides. 

At  six-thirty  she's  breakfasting.  Seven,  at  tennis.  Nine, 
she's  covering  a  murder  case  or  interviewing  the  murderess 
for  the  Los  Angeles  papers.  Noon,  interviewing  a  star  at 
lunch  for  Photoplay.  Two,  Avhirring  off  a  fiction  story  for 
Cosmopolitan.  Harper's'  or  Good  Housekeeping.  Five,  swim- 
ming at  the  beach  or  in  Mrs.  Wally  Reid's  pool.  Seven,  in 
cloth  of  gold,  bob  hair  rioting  or  drawn  tight  in  the  Russian 
mode,  she's  fizzing  up  some  stellar  dinner  parly. 

Retrousse  nose,  wit -shimmering  eyes,  a  dramatic  imagina- 
tion— in  a  word,  Irish. 

From  her  father,  one  of  the  most  famous  attorneys  of  the 
West,  she  inherited  dynamic  energy  and  incisiveness  of  mind. 
At  nineteen  she  was  reporting  for  the  Los  Angeles  newspapers. 

She  knows  the  heart  of  Hollywood.  It's  secrets  and  sorrows, 
mysteries  and  gayeties. 

She  has  the  faculty  of  dramatizing  its  bits  of  life  in  a  style 
that  is  colloquially  attuned — febrile,  staccato,  glittering,  high- 
keyed.     Her  sentences  snap.  [  continued  on  page  124  ] 

u 


HE  dines  with  Pola  Negri! 
He  reads  French  with  Mabel  Normand! 
He  swims  with  Alice  Terry! 

He  teas  with  Mrs.  Charles  Ray! 

He  escorts  Florence  Vidor  to  Bowl  concerts! 

He  dances  with  Corinne  Griffith! 

And  who  is  this  Lothario,  this  playboy  of  the  movie  world? 
Why,  Herbert  Howe,  of  course! 

Many  persons  appreciate  Herb  Howe.  But  here  is  what 
was  said  about  him  at  a  largely  attended  luncheon  at  The 
Writers  in  Los  Angeles  recently  by  a  serious  literary  critic,  who 
is  also  a  publisher  and  the  discoverer  of  a  number  of  "great 
ones"  in  the  writing  field: 

"Herbert  Howe  is  the  finest  epigrammatist  of  the  present 
day.  I  don't  know  whether  or  not  your  readers  appreciate  the 
literary  gems  they  get  from  him  because  his  stuff  is  so  enter- 
taining. But  it's  the  highest  form  of  biography  and  the  most 
polished  form  of  wit." 

And  let's  add  a  few  of  his  other  traits.  He  is  a  bachelor — 
from  choice.  He  never  gets  up  before  noon.  And  he  is  con- 
stitutionally so  lazy  that  some  editors  have  found  it  necessary 
to  lock  him  in  and  take  away  his — er — apparel — in  order  to  get 
manuscripts  in  time. 

He  prefers  to  live  in  Europe.  And  has  spent  a  great  deal  of 
time  roaming  about  from  Algiers  to  Petrograd,  enjoying  the  real 
life  of  the  people  as  he  went.  Incidentally,  though  his  political 
opinions  are  decidedly  Russian,  he  was  in  the  Tank  Corps  dur- 
ing the  war  and  looked  very  handsome  in  his  officer's  uniform. 

When  he  returned  to  Hollywood  from  his  last  tour  abroad, 
you  would  have  thought  the  Prince  of  Wales  had  arrived. 

He  was  born  in  Dakota  and  graduated  from  the  State 
University.  His  uncle  was  a  motion  picture  exhibitor  and, 
through  him,  Howe  eventually  drifted  to  publicity.  He  was 
the  first  writer  really  to  discover  Charlie  Ray. 

His  most  intimate  men  friends  are  Malcolm  McGregor,  Rex 
Ingram,  Charles  Ray  and  Tony  Moreno.  And  he  has  been  for 
the  past  two  years  the  most  noted  contributor  to  fan  magazines. 

Oscar  Wilde  once  remarked:  "To  have  the  reputation  of 
possessing  the  most  perfect  social       \  continued  on  page  i  24  ] 


te 


CLOSE-UPS 


BIOGRAPHICAL  DRAMA:  The  screen  is 
venturing  into  dramatic  territory  which 
the  stage  has  found  fertile — biographical 
drama.  Since  there  is  little  chance  for  novelty 
in  plot,  the  principal  hope  for  variation  lies  in 
development  of  character.  And  the  most 
interesting  characters  are  those  who  have  lived. 
A  picture  with  a  background  of  authenticity 
never  fails  if  competently  done.  The  historical 
picture,  particularly  such  as  "The  Covered 
Wagon,"  which  plays  patriotic  chords  on 
patriotic  spinal  columns,  has  far  greater  box- 
office  value  than  an  equally  good  story  without 
historical  reference.  The  reading  public,  too, 
is  showing  a  greater  interest  in  biography  and 
biographical  fiction.  Consider  the  success  of 
"Queen  Victoria"  and  the  superiority  of  "The 
Romance  of  Leonardo  da  Vinci"  over  fiction 
unsubstantiated  by  reality.  A  glowing,  swash- 
buckling picture  might  be  selected  from  the 
"Autobiography  of  Benvenuto  Cellini."  And 
what  love  story  could  hold  greater  romantic 
interest  than  that  of  Napoleon  and  Josephine? 
Where  is  there  a  character  more  pictureful  than 
Alexander  the  Great?  Certainly  Charles  Ray 
will  invite  more  attention  as  John  Aldcn  than 
as  John  Jones,  and  Richard  Barthelmess  as 
Nathan  Hale  will  impress  the  multitude  far 
more  than  as  a  Hergesheimer  hero.  Could 
any  spectacle  be  more  thrilling  than  that  of 
Valentino,  the  Great,  as  Christopher  Colum- 
bus, sheiking  Isabella  for  the  price  to  see 
America  first? 

Clever  Critics  Only  Criticize:  Frances 
Marion,  queen  of  the  scenario  writers,  asks 
me  why  some  of  us  clever  critics  don't  write 
for  the  screen.  The  answer  is,  we're  too 
clever.  When  Rex  Ingram  was  just  out  of 
Yale  he  visited  the  old  Edison  studio  to  see  a 
picture  run  off,  and  promptly  criticized  the 
bad  handwriting  in  some  letters  that  were  used 
in  the  action.  The  studio  engaged  him  to 
write  them  thenceforth.  He  wrote  four  and 
was  fired.     No  one  could  read  them. 

The  Art  of  Artificiality:  There  are  three 
grades    of    artificiality: 

The  artificiality  of  Gloria  Swanson. 

The  amusing  artificiality  of  Barbara  La 
Marr. 

The  sincere  artificiality  of  Mae  Murray. 

Hollywood  Parties:  The  fiestas  of  Holly- 
wood have  been  falsely  assailed  and  falsely 
defended.  Parties  here,  as  elsewhere  in 
our  desert  of  freedom,  may  be  divided  into 
two   general   groups:      those   where   you   get 


politely  pie-eyed  and  those  where  you  get 
impolitely  poisoned.  There  are  also  those 
unmentionable  orgies  where  you  get  bored  stiff 
with  mah  jong  or  guess  games.  Of  the  two 
deaths,  I  prefer  poisoning.  The  highlights  of 
Hollywood  hospitality  that  glow  incandescent- 
ly  in  my  memory  are : 

Champagne  flowing  gently  over  a  peach  in 
a  crystal,  after  the  Continental  manner,  and 
the  absinthine  scarf  that  bound  the  gypsy 
locks  of  the  divine  Pola.  .  .  .  The  pink  blos- 
soms against  the  left  ear  and  the  tiny  mole  on 


&?LONG 
SHOTS 

By  Herbert  Howe 


the  left  shoulder  of  Corinne  Griffith,  hostess 
at  an  Ambassador  dinner.  .  .  .  Hamburgers 
confected  by  Malcolm  McGregor  at  the  dinner 
he  cooked  for  four  stags.  .  .  .  Toy  balloons 
being  pursued  around  the  Ambassador  dance 
floor  by  Bull  Montana,  who  breathlessly  cap- 
tured them  for  a  kid.  .  .  .  Luncheon  with 
Mary  and  Doug  when  Mary  took  Doug's  knife 
away  for  fear  he'd  put  out  his  eye.  .  .  .  The 
best  Italian  food  this  side  of  Paoli's  in  Florence, 
with  Mabel  Normand  at  a  restaurant  which 
an  Italian  started  with  six  hundred  dollars 
borrowed  from  Mabel,  and  Mabel's  astonished, 
"And  he  paid  me  back!"  .  .  .  Harold  Lloyd 
making  a  half-dollar  disappear  through  his 
trousers  leg.  .  .  .  Dinner  with  Rex  Ingram 
and  Alice  Terry,  after  which  Rex  spent  the 
evening  rapturously  killing  flies.  .  .  .  Daniel 
Frohman  teaching  new  dance  steps  to  the  slow- 
footed  Hollywood  boys  at  Florence  Vidor's 
after  a  dinner  given  by  Carmel  Myers.  .  .  . 
Learning  how  to  make  millions  easily  from  the 
most  interesting  off-screen  star,  Joseph 
Schenck,  at  lunch  in  Norma  Talmadge's  studio 
bungalow.  .  .  .  Luncheon  with  Mr.  and  Mrs. 
Ernst  Lubitsch  at  Montmartre,  Mrs.  Lubitsch 
forbidding  Ernst  to  look  around  because  Nita 
Naldi  sat  just  behind.  .  .  .  An  Italian  dinner 
with  the  best  accompaniment  this  side  the 
vineyards  of  Tuscany,  hosted  by  Signor  Bulb' 
Montana.  .  .  .  The  frog  croaking  on  a  lily 
pad  at  an  evening  party  given  by  the  Charles 
Rays  in  their  exquisite  gardens,  and  Charles 
lighting  matches  in  an  attempt  to  show  us  the 
frog's  tongue,  which  he  claimed  was  a  musical 
membrane.  .  .  .  Listening  to  a  radio  bedtime 


Behold,  An  Actress ! 

We  Celebrate  This  Month 
The  Re-Discovery  of — 


MISS  BESSIE  LOVE 

Reversing  the  usual  procedure,  she 
abandoned  stardom  to  become  an 
actress.  In  "Human  Wreckage" 
and  "The  Eternal  Three"  she  is 
not  of  the  celluloid,  but  of  the 
flesh.  Here  is  Greatness  wait- 
ing on  Opportunity. 


story  about  how  the  little  lambs  lost  their 
tails  during  a  solemn  cocktail  hour  at  the  Tony 
Morenos.  .  .  .  The  scientific  discussion  raised 
by  a  disturbing  young  sheba  as  to  why  gin 
bottles  have  glass  stoppers  and  Scotch  have 
only  corks.  .  .  .  Relaying  countless  bottles 
of  strawberry  pop  to  the  Follies-famed  Lilyan 
Tashman  at  Blanche  Sweet's  box  party  for  the 
Movie  Exposition,  Lilyan  having  dined  with 
Nita  Naldi,  who  likes  her  seasoning  hot.  .  .  . 
At  Venice,  the  Coney  Island  of  the  Pacfic. 
going  "Over  the  Falls"  with  Alice  Terry  and 


landing  flat  on  the  sidewalk  outside  as  some  one 
exclaimed,  "Why,  look  at  Alice  Terry!" 
Alice  looking  as  patrician  seated  there  on  the 
pavement  with  a  hot  dog  in  her  hand  as  she 
would  on  a  throne  with  a  scepter. 

The  Limit  to  Realism:  When  Elinor  Glyn 
came  back  from  England  to  supervise  the 
production  of  "Three  Weeks"  for  Goldwyn, 
she  brought  pictures  of  palace  interiors  to 
duplicate  as  sets.  When  she  showed  the  art 
director  a  picture  of  a  queen's  bedchamber 
with  brass  beds,  he  had  the  vapours  and 
shrieked  for  a  flask.  Brass  beds,  as  everyone 
knows,  have  not  figured  in  a  fashionable 
scandal  since  la  bonne  grand  mere  was  a  little 
jazz  enfant.  Let  us  solemnly  pray  that  at 
least  Madame  in  her  devotion  to  royal  fashions 
does  not  compel  Eileen  Pringle,  the  star,  to 
copy  the  Queen's  hats.  Realism  should 
never  become  grewsome. 

Hollywood  vs.  Salmon:  Hollywood  society 
is  too  tame  for  the  society  folk  of  Salmon, 
Idaho,  according  to  Mr.  Philip  Rand,  an 
exhibitor  of  Salmon,  who  renders  the  follow- 
ing critique  in  The  Exhibitor's  Herald  con- 
cerning "The  Ordeal,"  a  Paramount  picture: 

"They  say  it  was  fine.  I  didn't  see  it.  I 
lost  $19.50,  which  is  some  Ordeal  to  me.  The 
society  folk  went  seven  miles  in  mud  to  a 
moonshine-jazz  dance  and  left  Agnes  Ayres 
and  Conrad  Nagel  to  entertain  a  few  stay-at 
homes  and  a  handful  of  kids.  It's  great  to  be 
a  showman  in  a  hick  town — hick  meaning 
hiccough.  When  I  said  I  didn't  see  that 
picture,  don't  think  I  was  at  that  wet  and 
noisy  dance.  No  siree!  I  was  in  bed  at 
home — I  can  prove  it.  For  further  particular.; 
write  to  Gus  Brown,  Mackey,  Idaho." 

[  CONTINUED  ON  PAGE  I  23  ] 

55 


That  Hope  Hampton  is  charming  to  look  at  cannot  be  denied 


JUST  who  and  what  is  Hope  Hampton?  Is  she  a  star? 
Thousands  have  been  spent  in  exploitation  and  publicity  to 
establish  this  claim.  With  what  has  it  been  backed  up?  Is 
she  an  actress?  Has  she  ever  had  a  following  large  enough 
to  make  her  pictures  pay? 

About  four  years  ago  Hope  Hampton  made  her  picture  debut 
as  the  "star"  in  an  old-school,  vamp  film,  labelled  "A  Modern 
Salome."  The  story  was  frankly  bunk,  but  it  was  pretentiously 
done,  lively,  intensely  romantic,  and  curiously  interesting  as 
the  gilded  platter  on  which  was  served  to  the  public  a  costly, 
dainty  and  delectable  new  "star,"  whose  obvious  qualifications 
for  her  job  were  prettiness  and  youth,  and  who  carried  off  her 
sudden  situation  with  entirely  comprehensible  inexperience  and 
rawness,  while  the  public  and  the  picture  world  awaited  with 
tolerance  and  patience  some  hint  of  the  "possibilities"  which 
might  have  justified  this  elevation  to  "stardom"  of  an  actress 
heretofore  totally  unknown.  But  was  Hope  Hampton  even  an 
"unknown  actress?" 

Questions  like  this  obtruded  themselves  into  the  public  con- 
sciousness with  her  prominence.  As  only  unsatisfactory 
answers  were  coming  from  authoritative  quarters  and  the  mil- 
lions of  followers  of  motion  picture  personalities,  by  some 
quaint  trick  of  mind,  expect  and  demand  definite  knowledge  of 
the   youth,    training,   antecedents   and   background   of   their 

56 


Who 

and  What  is 

Hope 

Hampton? 


Is  she  a  star? 

Is  she  an  actress? 

Has  she  any  following  ? 

Does  the  public  want  her? 

Will  the  public  pay  to  see 
her  pictures  ? 

Why  is  she  featured  above 
Lew  Cody,  J^ita  Ndldi 
and  Conrad  J^lagel  ? 

By  Bland  Johaneson 


favorites,  strange  legends  or  myths  sur- 
rounding Hope  Hampton  came  into 
active  circulation. 

Some  had  it  that  she  was  the  daughter 
of  a  rich  Texan  ranch-owner  and  in- 
dulged by  him  in  her  whim  of  becoming 
an  overnight  picture  pet.  Others  gave 
her  the  romantic  O.  Henry  history  of 
the  Philadelphia  Gimbel's  bargain-base- 
ment, from  which  she  gamboled,  through 
the  sunny  pastures  of  the  chorus 
"hoofers"  and  "ladies  of  the  ensemble," 
into  her  screen  glory  and  unlimited 
credit  in  any  department  store. 

Obviously,  such  extravagant  tales 
could  not  have  gained  credence  in  any  circles  not  so  accustomed 
to  improbabilities  and  outlandish  careers  as  that  circle  which 
follows  the  motion  pictures.  The  silver  screen  has  celebrated 
even  stranger  histories. 

Still  wilder  and  funnier  stories  were  told.  Hope  Hampton's 
interest  in  letters  and  journalism  was  supposed  to  have  led  her 
into  the  writing  cliques,  where  she  made  many  warm  friends 
among  the  clever  little  boys  and  girls  who  contribute  to  the 
papers  and  magazines.  Gathering  these  playmates  around  her 
at  luncheon,  she  is  supposed  to  have  entertained  them  with 
such  cunning  little  convert  souvenirs  as  silver  purses  and  flagons 
of  rare  perfume  until  their  merry  glee  and  pleasure  with  their 
pretty  benefactress  was  communicated  to  all  their  reading 
public. 

Feeling  that  no  person  more  than  Hope  Hampton  herself 
would  rejoice  to  have  all  these  silly  delusions  dispelled,  the 
Editor  of  Photoplay  asked  me  to  see  the  star,  form  some  esti- 
mate of  her  as  an  actress  and  a  personality,  and  get  from  her, 
herself,  if  possible,  her  own  account  of  her  career  (whether 
colorful  or  romantic,  no  matter,  at  least  definite),  in  order  to 
stem  the  flood  of  such  questions  as  Who,  What  and  Why  is 
Hope  Hampton? 

My  request  for  an  interview  was  answered  promptly  by  an 
invitation  to  dinner  at  the  Ritz.    Assuring  Miss  Hampton  of 


my  inability  to  accept  her  unusual 
courtesy,  I  suggested  a  later  day.  She 
placed  a  perfect  aeon  of  dinner  hours 
at  my  disposal,  as  well  as  an  un- 
bounded choice  of  smart  restaurants. 
Finally,  however,  she  agreed  to  my 
seeing  her  in  her  own  house,  which  is 
on  Park  Avenue. 

Arriving  before  her  door,  casement 
windows  were  opened  above,  and  I 
was  greeted  by  a  cheery  "yoo-hoo." 
Her  prettiness  was  dazzling.  Run- 
ning to  open  the  door  for  me,  she  was 
daintier,  livelier,  more  animated  that 
I  ever  have  seen  her  on  the  screen, 
and  of  a  totally  different  type.  In  a 
picture  she  is  very  blonde,  rather 
limpid  as  to  personality,  slightly  ma- 
ture. In  life  she  seems  a  fiery,  red- 
headed little  Irishman,  reckless. 
blunt,  almost  tactless  in  the  frank- 
ness with  which  she  voices  her  opin- 
ions of  things  and  people. 

Expressing  her  surprise  and  relief 
at  finding  me  not  quite  an  unfriendly 
ogre,  she  led  me  into  her  drawing- 
room  and  presented  Mr.  Jules  Brula- 
tour.  the  film-magnate  who  manages 
her  and  is  credited  by  rumor,  with 
her  discovery. 

Miss  Hampton's  house  is  tiny,  un- 
pretentious and  furnished  in  ex- 
quisite taste,  with  the  almost-too- 
perfect  touch  of  the  interior  decorator 
suggested  in  the  disposal  of  every 
chair  and  ash-tray.  Only  this  ultra- 
perfection  hints  of  youth  in  Miss 
Hampton's  luxurious  wealth. 

Mr.    Brulatour    immediately    as- 
sumed   command    of    the  conversa- 
tional ship,  turning  it  into  the  most 
general,  social  and  casual  channels, 
prompting  Miss  Hampton  to  chatter 
about  her  clogs,  her  fondness  for  dogs, 
the  value  of  her 
dogs,  her  harrowing 
experience  of  losing 
by    theft    an    espe- 
cially  valuable  and 
especially  beloved       £M 
dog.  her  strategy  in 
recovering    said 
canine,  and  the  sub- 
sequent joy  of  their 
reunion. 

I  w  a  s  una  bl  e, 
without  resorting  to 
downright  rudeness, 
to  make  either  the 
star  or  her  manager 
tell  me  anything 
about  her  girlhood, 
experience,  parent- 
age, ambi  tio  n  , 
struggles,  or  one 
single  anecdote 
which  could  suggest 
her  juvenile  charac- 
ter and  environ- 
ment. My  own  in- 
ability as  an  inter- 
viewer may  have 
been  entirely  re- 
sponsible for  this. 

Miss  Hampton 
did  say  that  she  was 
born  in  Texas, 
raised  and  educated 
in  Philadelphia, 
from  whose  public 
schools  she  came 
directly  to  the  Sar- 


Miss  Hampton  in  a  Pavlowa  pose  in  one  of  her  latest  pictures 


geant  Dramatic  Academy,  where  she  was  "discovered"  and 
selected  because  of  her  conspicuous  talents  to  play  the  lead- 
ing role  in  "A  Modern  Salome"  as  a  featured  star. 
"Had  you  any  previous  experience  in  acting?" 
"No.    Only  as  an  amateur  with  my  class  at  the  dramatic 
scbool." 

"Had  you  ever  before  appeared  in  a  picture?" 
"No."     (Miss  Hampton  later  admitted  thai  she  had  done 
a  small  bit;  "just  for  fun,"  for  which  she  had  not  been  paid, 
in  a  Maurice  Tourneur  production  which  the  director  was 
making  in  some  association  with  Mr.  Brulatour.) 
"Have  you  ever  been  on  the  stage?" 
"Never." 

"How  do  you  account  for  the  prevalence  of  the  impression 
that  you  had?" 

Here  Mr.  Brulatour  answered  for  her:  "It's  because  Hope 
makes  such  a  wonderful  'personal  appearance.1  She  makes 
a  better  one  than  any  other  star.  Everyone 
thinks  because  of  that  that  she  has  had  expe- 
rience, but  she  had  never  been  on  the  stage." 
(He  refers  here  to  the  Hope  Hampton  exploita- 
tion stunt  which  was  so  largely  responsible  for 
landing  her  before  the  public,  the  practice  of 
touring  the  country  and  appearing  in  picture 
houses  to  talk  to  the  fans  about  picture  person- 
alities and  picture-making.) 
This  launched  [  continued  on  page  125  ] 

57 


Miss  Hampton 

in  n  classic  pose, 

portraying  Joan 

of  Arc 


J—TERE  is  a  thrilling 
mystery  story  of  the 
adventures  that  befell 
a  company  of  motion 
picture  players  while 
on  location  in  the  big 
woods  of  the  great 
J^orthwest.  Full  of 
interest  and  suspense 


CHAPTER  I 

IT  was  fortunate  for  Dave  Mann  and 
the  Nonpareil  Film  Corporation  that 
he  was  the  only  person  in  the  company 
who  possessed  a  temperament.  Other- 
wise the  combination  of  mosquitoes, 
swampy  portages,  black  flies  and  smoky 
campfires  would  have  wrecked  Dave's 
expedition  in  search  of  realism  the  second 
day  out. 

As  it  was,  things  were  going  much  as 
they  did  on  any  location.  Peggy  Dare 
and  Fay  Brainerd  sat  side  by  side  in  the 
middle  of  a  big  freight  canoe,  veiled  and 
gloved  and  high-booted,  Peggy  growling 
and  snapping  and  Fay  laughing  because 
she  knew  that  Peggy's  temper,  unlike  her 
beauty,  was  only  skin  deep  and  more  often 
than  not  a  mere  vehicle  for  witticisms. 

"The  next  time  Davis  goes  after  real- 
ism I  hope  he  wants  it  in  a  Ritz  setting," 
Peggy  said.  "He  could  have  borrowed  a 
moose  from  the  Bronx  Zoo  and  shot  this 
stuff  in  New  Jersey." 

"But  Dave  gets  inspiration  when  he 
sees  the  real  thing,"  Fay  protested  with 
mock  seriousness.  "He  rewrote  half  the 
scenario  last  night  after  talking  with  one 
of  the  guides.  Says  he  has  the  real 
Canadian  flavor  now." 

"Yes,  and  he'll  rewrite  it  twice  more 
before  we're  through,  retake  everything  a 
dozen  times  and  keep  us  here  a  month. 
By  that  time  it  will  be  winter  and  he'll 
get  a  new  idea — all  snow  stuff." 

"Ugh!"  Fay  shivered,  and  then  she 
laughed.  "But  anyway,  one  of  us  is  en- 
joying himself." 

Peggy  glanced  across  to  the  bow  of 
another  canoe  in  which  knelt  Larry  Mon- 
crieff.  He  was  swinging  a  paddle  with 
amazing  skill  when  it  was  considered  that 
he  had  never  seen  one  until  three  days 
before. 

"  Yes,  look  at  the  million-dollar  beauty!" 
she  exclaimed.  "You'd  think  the  shore 
was  lined  with  flappers." 

"Peg!  I  never  heard  anyone  accuse 
Larry  of  playing  to  the  flapper  gallery." 

"That  was  rough.  A  black  fly  had  just  started  a  tunnel 
through  my  neck.    But  why  does  he  work  like  that?" 

"He  has  to  do  some  paddling  in  this  picture." 

"  You  don't  say!  If  he  only  sits  in  a  canoe  half  the  women  in 
the  country  would  believe  it  ought  to  move  for  that  reason 
alone.  It's  a  wonder  Dave  lets  him  do  it.  He  might  get  a 
blister." 

"As  a  matter  of  fact  he  has  several,"  Fay  answered.  "And, 
stranger  still,  he's  proud  of  them,  or  proud  of  the  way  he  got 
them.    He's  a  funny  one." 

68 


Not 


in 


th 


e 


By  Kathrene  and  Robert  Pinkerton 


"Funny's  the  word.  I  can  never  get  quite  used  to  him. 
When  Dave  first  picked  him  up  I  thought  he  had  nothing  but 
a  face.  Even  now  you  wonder  if  that  isn't  all  except  when 
Dave  yells  'shoot!'  " 

"  Yes,  Dave  is  the  only  one  who  can  wake  him  up.  I  suppose 
that's  what's  saved  him  from  the  flappers,  and  all  the  rest. 
Any  other  man  would  have  been  ruined  by  their  adoration." 

Peggy  Dare's  high-salaried  eyes  grew  serious. 

"  I  don't  get  him,"  she  said.  "  For  a  long  time  I  thought  he 
was  the  usual  doll  and  passed  him  up.    Even  now  I  can't  quite 


Scenario 


Illustrated   by   R.  Van    Buren 


see  a  man  who  lets  someone  double  for  him  when  he  does  any- 
thing so  dangerous  as  lighting  a  gas  jet." 

"But  why  blame  Larry?"  Fay  objected.  "That's  Dave's 
idea.    He  won't  let  him  risk  a  finger  in  a  stunt." 

"Yes,  but  you've  never  heard  Larry  fighting  for  the  chance. 
I  don't  suppose  I  would  either  if  my  name  could  fill  the  theater 
like  his  does.    Still,  I'd  like  to  be  sure  he's  a  regular  he-man." 

"Give  him  time.    He  may  surprise  you." 

"He  certainly  would.  I  suppose  I'm  the  only  female  in  the 
world  who  hasn't  fallen  for  him.     But  I  hate  to  see  those 


At  last  he  went  into  a  room  off  the 
kitchen  and  returned  with  a  rifle 


shoulders  wasted  in  Dave's  nursery. 
Right  now  he's  doing  the  hardest  work 
I've  ever  seen  him  do.    Look  at  him." 

Larry  Moncrieff  was  paddling  as  stead- 
ily and  as  energetically  as  any  of  the  canoe- 
men.  The  two  girls  watched  him  as  he 
snapped  the  blade  forward  and  drew  it 
back  with  quick,  strong  strokes.  They 
could  see  that  he  was  enjoying  himself 
thoroughly  but  neither  guessed  that  he 
reveled  in  the  soft  light  of  suddenly  awak- 
ened imagination,  that  in  his  own  mind  he 
had  ceased  to  be  Larry  Moncrieff,  movie 
idol,  and  had  become  a  colorful  voyageur 
of  old,  fighting  his  way  through  an  un- 
charted wilderness  to  the  land  of  fur  and 
adventure. 

Even  when  the  canoe  turned  shoreward 
he  remained  in  the  land  of  his  dreams. 
The  portage  they  were  about  to  make  was 
only  another  fascinating  bit  of  the  un- 
charted wild  and,  for  Larry,  all  such  trails 
possessed  an  unfailing  charm. 

"How  far?"  he  asked  the  man  behind 
him. 

"It  ain't  how  far,  but  how  high,"  the 
canoeman  answered  grimly.  "A  half  mile 
but  straight  up  over  that  hill." 

They  landed,  and  when  the  next  canoe 
touched  the  shore  Larry  helped  the  two 
girls. 

"You  poor  boy!"  Peggy  Dare  ex- 
claimed.   "Look  at  those  blisters,  Fay." 

Larry  sometimes  thought  he  detected  a 
keen  edge  of  sarcasm  in  Peggy's  dulcet 
voice.    He  grinned  sheepishly. 

"I'm  having  a  good  time  anyhow,"  he 
said.  "And  I'm  going  to  help  pack  across 
this  portage." 

But  before  he  had  lifted  his  load  he  was 
stopped  by  a  hail  from  the  lake. 

"Dave's  afraid  he'll  strain  himself," 
Peggy  whispered.  "I'm  surprised  he 
doesn't  have  the  men  carry  Larry  across." 

But  Dave  Mann  was  not  concerned  with 
Larry  Moncrieff's  safety  just  then.  His 
canoe,  the  fourth,  had  lagged  far  behind 
and  as  it  drew  nearer  the  director  stood 
up  and  waved  excitedly  to  those  on  shore. 

"Wait!"  he  called.  "Don't  carry  that 
stuff  across.  Put  it  down.  Don't  touch 
it.    I've  got  a  new  idea." 

Some  of  the  canoemen  had  already 
started,  and  not  until  they  had  returned 
with  their  burdens  did  Dave  cease  issuing 
his  fervid  commands.  The  moment  his 
canoe  grounded  he  leaped  ashore. 

"  Come  here,  Bill,"  he  called  to  the  man 

in  the  stern.    "Larry,  I  want  you  to  hear 

this.    I've  got  a  wonderful  new  idea.    A 

palace!    Think  of  it!    In  this  wilderness. 

Wonderful  set.    And  it'll  fit  right  'nto  the 

story,  with  a  few  changes,  of  course.    I'll 

fix  those  up  tonight." 

Larry  joined  him,  as  did  Peggy  and  Fay,  Phil  Sherwood,  the 

assistant  director,  and  Roy  Quigley,  the  camera  man.    No  one 

ever  knew  what  was  going  to  happen  when  Dave  got  an  idea. 

"Now,  Bill,"  Dave  began.     "Tell  them  about  this  place." 

"I  don't  know  much  except  what  I've  heard  and  what  I've 

told  you,"  the  canoeman  said,  obviously  unconcerned. 

"It's  a  regular  palace,  built  of  logs,  of  course,"  Dave  ex- 
plained.   "Some  queer  old  gink  lives  there  alone." 

"He's  not  alone,"  Taylor  interrupted.     "There's  someone 


around  to  do  the  work  and 


69 


The  girl,  a  lovely  vision,  stood  back  of  the  old  man,  watching  the  tableau  with  an  amused  expression 
and  just  a  suggestion  of  wonder  in  her  great,  hazel  eyes 


GO 


"Think  of  that!"  Dave  cried.    "No  one  knows  about  them. 
Mystery!     Romance!     An  exile  in  the  wilderness!     There's  a 
picture  in  that.    We  can  introduce  a  girl  and  — " 
"There  is  a  girl  there,  too,"  the  canoeman  said. 
"A  girl!    Wonderful!    Why  didn't  you  tell  me?" 
"I  tried  to  and  you  got  so  excited  I  didn't  have  a  chance.    I 
never  seen  her  but  — " 
"Where  is  this  place?" 

"It's  on  the  next  lake,  about  five  miles  from  where  we're 
going  to." 

"Know  anything  about  the  owner?" 

"  No  one  does,  far  as  I  can  tell.  He  must  a'  come  in  from  the 
other  railroad  to  the  north.  Been  there  some  years  now  but 
he's  just  as  much  a  stranger  as  ever." 

"And  it's  a  big  place,  stunning  set  and  all  that?" 
"I  ain't  never  been  close  to  it,  just  paddled  by  once.    It's  a 
mighty  pretty  place,  half  way  up  a  hill  with  some  big  Norways 
around   it,    but    they   don't   allow 
visitors.     Partner  of  mine  stopped 
there  one  day  but  they  told  him  flat 
they  didn't  want  him." 

"Oh,  we'll  take  care  of  that  part 
of  it,"  Dave  said  confidently. 
"Gad!  Think  of  it!  A  girl  living 
there!  Prisoner,  I'll  bet.  Idea  for 
a  corking  picture.  And  a  set  like 
that  ready-made.  Come  on,  you 
fellows.  Start  lunch.  We'll  eat 
here,  get  across  this  portage  and  see 
the  place  before  supper  time." 

Late  in  the  afternoon  four  large 
freight  canoes  and  a  smaller  one 
approached  the  north  end  of  White 
Otter  Lake.  As  they  neared  a  point 
Bill  Taylor  turned  and  spoke  to 
Dave  Mann. 

"It's  right  around  here,"  he  said, 
"down  near  the  head  of  this  bay." 
"Fine!"  Dave  cried  excitedly. 
"But   I   want   to   warn  you  he 
never  lets  anybody  land.     Queer 
old  devil." 

"That's  for  me  to  worry  about," 
Dave  answered.  "You  lead  the 
way.  Run  the  canoes  right  up  onto 
the  shore  and  we'll  get  out  before 
he  can  stop  us.  After  that — well, 
I'll  talk  to  him.  What's  his  name?  " 
"I  never  could  say  it.  Heard  it 
only  once.  French  or  Italian  or 
something." 

"Wop,  eh?"     He  turned  and  surveyed  the  other  canoes. 
"Any  of  you  talk  dago?"  he  shouted. 
No  one  answered. 

"Oh,  well,"  Dave  muttered,  "a  few  bills  with  the  right  num- 
bers on  'em  talk  any  language.  Hurry  it  up  there,  you 
fellows." 

The  canoes  rounded  a  point  but  no  signs  of  a  house  was  to  be 
seen. 

"It's  at  the  head  of  a  little  cove  near  the  end  of  the  bay," 
Bill  Taylor  explained.    "You'll  see  it  in  a  minute." 

The  canoes  slid  on,  turned  another  point,  and  then  even  the 
paddlers  ceased  work  to  stare  in  amazement. 

Set  on  a  broad  ledge  thirty  feet  above  the  water  stood  a  long, 
low  building  of  logs.  A  broad  veranda  extended  across  the 
entire  front  and  wide  windows  looked  out  across  a  beautiful 
bay.  The  underbrush  and  saplings  had  been  cleared  away  but 
a  score  of  tall  Norway  pines  towered  above  the  cabin  like  a 
squad  of  sentinels. 

"Wonderful!"  Dave  Mann  cried  after  he  had  gazed  at  it  a 
minute.  "Marvelous!  Think  of  a  place  like  that  up  here  in 
such  a  wilderness!  Why,  we  must  be  fifty  miles  or  more  from 
the  nearest  railroad." 

He  turned  to  Peggy  Dare,  whose  canoe  had  drifted  alongside. 

"There's  romance  for  you!"  he  exclaimed.     "Palace  in  the 

wilderness.     No  one  ever  permitted  to  visit  it.     Beautiful  girl 

kept  prisoner  by  aged  Italian  exile.    Just  the  part  for  you,  Peg. 

And  Larry  as  the  rescuing  hero!  Wow!  With  just  a  few  changes 

it  will  fit  right  into  the  story  we've " 

"Better  keep  quiet,"  Bill  Taylor  whispered.  "If  he  hears  us 
he'll  most  likely  come  down  and  order  us  off  before  we  get  a 
chance  to  talk  to  him." 


In 


Dave  motioned  to  the  other  canoes  to  hurry  forward  and  in 
another  moment  all  five  had  tied  up  at  a  log  dock.  There  had 
been  no  sign  of  anyone  on  the  shore  as  they  slipped  across  the 
cove  and  even  after  they  had  landed  no  one  was  seen. 

"I'll  go  up  alone,"  Dave  said  as  he  started  along  a  trail. 
"Rest  of  you  stay  here." 

"If  ever  a  man  acted  as  if  he  had  nothing  but  bats  flying 
around  the  bells  it's  Dave,"  Peggy  Dare  said.  "Here  we're  off 
again  on  a  second  picture.  It'll  be  a  month  before  we're  out  of 
this  mosquito  hole." 

"Yeh,  and  we'll  have  some  picture  when  we  do  leave,"  Roy 
Quigley  answered.  "Dave  acts  nutty  but  his  old  bean's  work- 
ing overtime  all  the  time.  Four  knockouts  in  the  last  year  and 
no  flivvers.    Huh!    I  guess  that's  being  nutty." 

"Lord,  Quig,  let  me  get  some  joy  out  of  this!"  Peggy 
snapped.  "I  know  as  well  as  anyone  the  sort  of  pictures  he 
makes.    I've  been  in  them.    But — " 

She  was  interrupted  by  a  hail 
from  the  ledge  above  them. 

"Come  up  and  see  this,  you 
folks!"  Dave  Mann  shouted.  "It's 
wonderful.  Wonderful!  And  not  a 
soul  around.  Bring  a  camera,  Quig, 
and  flashes.  I  want  some  interior 
stills  right  away  while  I  can  get 
'em." 

He  turned  and  disappeared  and 
the  whole  company  hurried  to  the 
trail  that  led  upward.  Behind 
them,  more  cautiously  and  more 
slowly  and  yet  fully  as  eager  to  in- 
spect this  strange  place,  came  the 
dozen  canoemen  and  helpers. 

When  they  reached  the  top  of  the 
ledge  Dave  stood  at  the  veranda 
entrance  holding  the  screen  door 
open. 

"Shut  it!"  Peggy  cried.  "If 
there's  a  place  up  here  without 
mosquitoes  don't  invite  them  in." 

"Wonderful!  Wonderful!"  Dave 
cried,  wholly  unconscious  of  her 
protest.  "The  interior's  wonder- 
ful. Never  dreamed  of  one  like  it. 
We'll  take  some  stills  and  reproduce 
it  on  the  lot  when  we  get  back.  And 
the  outside !  Look  at  it.  Those  big 
logs  and  the  way  they're  fitted  to- 
gether." 

"Isn't    there    anyone    around?" 

Larry  asked. 

"Can't  find  a  soul.    Went  out  back  and  called.     Get  busy 

inside,  Quig.    We  want  to  reproduce  that  living  room.     If  we 

had  the  lights  here  we'd  use  it.    And  say,  Peggy!    There's  a 

.  grand  piano  in  there." 

The  entire  group  followed  Dave  inside. 
"What  an  adorable  place!"  Fay  Brainerd  exclaimed. 
"Yes,  just  look  at  it!"  Dave  added.  "That  fireplace!  And 
those  rafters.  Nothing  like  you'd  think  a  wilderness  home 
would  be  and  yet  it  has  the  wilderness  touch.  Unmistakably. 
And  then  add  the  mystery  and  the  romance,  the  exotic  nature 
of  such  a  situation — " 

"Clear  out,  all  of  you!"  Roy  Quigley  ordered.    "I'm  going 
to  take  the  stills." 

The  men  left  through  a  rear  door  but  Peggy  and  Fay  turned 
unerringly  to  a  hall  that  led  to  several  bedrooms  and  as  un- 
erringly, to  one  unmistakably  a  woman's.  They  entered, 
curiosity  overcoming  all  sense  of  respect  for  another's  privacy. 
"Poor  thing!"  Peggy  exclaimed  after  a  brief  survey.  "Isn't 
it  plain?" 

"And  yet  it's  nice,"  Fay  answered.    "  She  has  everything  she 
needs.    Wonder  why  she's  kept  here." 

"Wouldn't  it  be  deadly?     Think  of  it!     Never  seeing  any- 
one, never — " 

She  had  walked  across  to  a  table  and  was  turning  over 
several  books. 

"And  look  at  what  she  has  to  read!    What  sort  of  clothes  has 
she?" 

Peggy  opened  the  closet  door  but  before  she  could  look 
inside  they  heard  Dave  Mann  calling. 

"Probably  ready  to  shoot  right  now,"  Fay  said  as  she  led  the 
way  out. 

67 


The   Best  Picture 
of  the  Year 

'  I  'HE  winner  of  the  Photoplay  Gold 
-*-  Medal  of  Honor  for  1922  will  be 
announced  in  the  December  issue  This 
will  be  the  third  medal  awarded,  and  the 
number  of  votes  received  shows  that  in- 
terest in  the  contest  is  increasing  steadily. 

The  first  medal  awarded,  for  the  best 
picture  of  1920,  went  to  the  Cosmopolitan 
Productions'  "Humoresque,"  and  the 
medal  for  1921  was  presented  to-  Inspi- 
ration Pictures,  Inc.,  for  its  production  of 
"Tol'able  David." 

The  task  of  counting  the  thousands  of 
ballots  sent  in  by  Photoplay  readers  for 
the  best  picture  of  1922  is  practically  com- 
pleted, and  the  name  of  the  winning  pic- 
ture will  be  announced 


the  Next  Issue 

Out  November  15 


Stuff; 


lu-    demanded 


The  men  were  gathered  in  the  living  room  again  appearing 
dimly  through  the  clouds  of  smoke  from  the  Sash  lights. 

"We're  going  to  camp  right  across  the  hay."  Dave  said      "  I 
want  you  all  to  go  over  there  now  and  when  the  old  wop  gets 
back  I'll  talk  to  him.      I'm  going  to  make  some  changes  in  the 
scenario  tonight  and  in  the  morning 
we'll  start  shooting.   Come  on.  now. 
Hurry  up.    I  don't  want  him  to  find 
US    all    here.       Might     make    him 
huffy." 

After  supper,  Dave,  Larry  and 
two  of  the  canoemen  returned  to 
the  cabin  on  the  hill.  A  careful 
watch  had  been  kept  but  no  sign  of 
the  owner's  return  had  been  seen. 

"He's  sure  to  get  here  before 
dark,"  Dave  said  as  they  landed. 
"If  we're  here  when  he  comes  he 
can't  throw  us  off  until  we  talk  to 
him  Besides,  I  want  to  gel  the 
outside  of  the  house  and  the  interior 
well  fixed  in  my  mind  before  I  work 
over  the  story.  Gad.  this  is  luck! 
It's  going  to  lit  right  in.  with  only  a 
lew  changes." 

"What  if  he  won't  let  you  use  the 
place?"  Larry  asked.  "He  might 
be  so  crabby  he'd  drive  us  off  with  a 

gun." 

"Oh.  we'll  get  him  some  way. 
You  fellows  keep  a  watch  outside 
and  let  us  know  if  anyone  conies," 
he  told  the  canoemen.  "We'll  be  in 
the  living  room." 

Once  inside  Larry  Moncrieff  went 
to  the  piano,  opened  it  and  began 
to  play  softly  while  Dave  paced  up 
and    down    the  room.      "What's    that 
suddenly. 

"Grieg." 

"Huh!  I  don't  see  how  you  get  the  jazz  into  your  work  like 
you  do.     You  never  show  it  any  other  time." 

Larry  kept  on  playing  without  an  answer  and  Dave  turned 
again  to  a  survey  of  the  room.  But  almost  immediately  Bill 
Taylor  burst  in. 

"Say!"  he  cried  excitedly.     "Come  on  out  back!     Quick!'' 

"What's  happened?"  Dave  demanded  as  Larry  whirled 
around  from  the  piano. 

"  \  man!  We  saw  him  lying  in  a  dark  corner  of  a  shed.  I 
think  he's  dead." 

Dave  and  Larry,  following  at  the  heels  of  the  canoeman,  ran 
outside.  Jack  Gibson,  the  other  woodsman  who  had  accom- 
panied them,  stood  near  the  open  door  of  a  small  outbuilding. 

"He's  alive,"  Jack  said  as  they  approached.  "I  just  heard 
him  moving." 

"Better  be  careful,"  Bill 
warned.  "You  never  know 
what's  going  to  happen  in  a 
place  like  this." 

But  Dave  brushed  past  him 
and  knell  in  the  dark  comer 
beside  the  body  of  a  man.  He 
made  a  brief  examination  and 
then  called  to  the  others. 

(airy  him  outside,"  he 
commanded.  "He's  all  tied 
Up.  Get  a  knife  and  cut  those 
rope-*." 

Larry  helped  the  two  canoe- 
men carry  the  man.  He  had 
been  bound  by  an  expert.  His 
ere  lashed  together,  his 
hands  tied  behind  his  back 
and  a  big  handkerchief  held  a 
gag  in  his  mouth. 

Hut  even  as  they  began  to 
slash  the  ropes  they  saw  that 
he  was  very  much  alive.  His 
eyes,  black  and  large,  burned 
with  a  fierceness  that  caused 
Hill  Taylor  to  draw  back  in 
alarm. 


Do  you  wish  to  write 
for  the  Screen? 

PHOTOPLAY     has    arranged     with    John 
Lynch,  one  of  the  foremost  writers  for  the 

screen,  a  man  who  has  spent  years  in  adapting 
novels,  writing  originals  and  continuity,  to 
answer  the  questions  most  frequently  asked  by 
people  interested  in  screen  writing,  in  the 
December  issue  of  Photoplay,  which  appears 
on  the  newsstands  the  I  ah  of  Novcmher. 
Among  the  questions  he  will  answer  are: 

What  attention  does  an  original  story  get 
from  producers? 

What  is  the  best  form  in  which  to  submit  a 
scenario? 

Who  are  the  hesr  persons  to  whom  to  send 
scenarios? 

What  are  the  requisites  ot  a  good  photoplay  ? 

Who  can  write  a  scenario? 

What  education  is  needed  to  become  a  screen 
writer? 

Has  rhe  unknown  writer  a  chance? 

In  the  December  Issue 


"What's  happened  here?"  Dave  demanded.     "Where  ard 
the  rest  of  the  people,  the  old  fellow  and  the  girl?" 

The  man's  legs  and  arms  had  been  freed.     Though  his  face 
was  twisted  by  pain,  his  eyes  stared  fiercely  up  at  Dave. 
"Come!      Can't   you   talk?     We're    friendly.     What's  hap- 
pened? " 

Still  there  was  no  answer.  The 
man  rolled  over,  stretched  his 
i  ramped  arms  and  legs  and  finally 
sat  up. 

"Gad,  what  a  type!"  Dave  whis- 
pered.   "Real  brigand." 

The  man  looked  it.  Very  dark, 
with  long  black  hair,  fierce  mus- 
tache, coal  black  eyes,  gleaming 
white  teeth  and  a  face  lined  by 
passion  and  savage  lust,  he  would 
have  fitted  well  into  any  talc  of 
southern  Europe. 

Even  his  clothes  filled  out  the 
picture — the  open  blue  shirt,  the 
scarlet  handkerchief  about  his  neck, 
the  corduroy  trousers  and  the  black 
slouch  hat  which  had  been  King 
just  inside  the  door. 

"Come,  can't   you   talk?"   Dal 
repeated  irritably. 

The    man    stared    at    him 
peculiar  manner. 

"Spika  de  Eye-tally-one?"  Ds 
ventured. 

Suddenly  the  fellow's  face  wascc 
lorted  in  a  strange  manner  and 
began  to  wave  his  arms  about 
and  make  queer  signs  with  his 
fingers. 

"A  deaf-mute!"  Larry  exclaimed. 
"Don't  you  see?     He's  trying  totalk  to  us." 

"Gad,  what  a  situation!"  Dave  cried.     "A  crime  has  been 
committed  and  not  one  of  us  can  tell  what  he's  trying  to  say. 

But  Wait!  "  [  CONTINUED  ON  PAGE  104 


"Stop  <i !  "  shrieked  the 
God!    Onmy piano!    1 


old  man.      "My 

an  hare  defiled  it" 


62 


Mv  S 


creen 


L 


overs 


By 
Barbara  La  Man 


Richard 

Bennett 

"He'd    play    "I 

lore,   ma  k  e  a 

game  and  a  song 

of  it" 


Lionel 

Barrymore 

"With  him  yon 

are  the  plaything, 

the  dainty  toy" 


Bert 
Lytell 
"//<  appeals  to 
the  maternal  love 
that  will  hold 
after  sex  love  is 
gone" 


Montagu 
Love 
' '  His  love  is  pro- 
tective, enfolding, 
gentle,    always 
understanding" 


Barbara  La  Marr  and  her  four  "screen  lovers"  in  "The  Eternal  City' 


I  SEEM  always  to  be  cast  in  parts  where  love  is  my  whole 
existence.  Even  life  has  done  that  to  me. 
On  the  screen  I  never  escape  it.  Perhaps  it  is  because 
I've  always  been  in  love,  in  love  with  the  great  ideal  of  love 
itself — something  too  many  men  and  women  experience; 
something  that  makes  us  go  on  seeking  through  personalities 
and  the  years.  The  world  calls  us  fickle,  but  that  isn't  true. 
We  are  merely  the  idealists  of  love,  who  search  and  very  rarely 
find  that  for  which  we  look. 

Now,  however,  I  have  as  close  to  the  perfect  state  as  any 
woman  can  hope  to  have.  I  have  four  lovers — four  handsome, 
diversified  lovers,  simultaneously. 

Don't  be  frightened,  oh  censors!  They  are  only  my  screen 
lovers,  the  four  male  stars  in  "The  Eternal  City" — Lionel 
Barrymore.  Bert  Lytell,  Montagu  Love  and  Richard  Bennett. 
And  how  very  different  each  of  them  is  from  the  others.  Fancy 
having  those  four  all  to  myself — I'm  the  only  woman  in  the 
cast — with  Rome  as  my  background  and  summer  as  my 
season.     Was  ever  a  girl  more  fortunate? 

Take  Lionel  Barrymore,  for  instance.  He's  one  of  the 
lovers  even-  girl  has  in  her  imagination — cold,  austere,  forceful. 

With  a  man  such  as  he,  your  little  vagaries,  your  baby  whims 
and  coquetries  go  for  nothing  at  all.  He  only  smiles  at  you, 
a  very  knowing  smile.  He  says  not  a  word  and  .yet,  much 
more  plainly  than  words,  he  is  telling  you  that  your  trick  is  an 
old  trick,  one  common  to  all  women  for  generations.  He  lets 
you  realize  that,  with  him,  you  are  like  a  pretty,  delightful 
child  rather  than  a  woman.  You  are  a  decorative,  delightful 
morsel  to  be  consumed  at  leisure.  You  feel  that  even  without 
"you"  he  would  live  a  complete  life.  You  aren't  particularly 
essential.     You  get  a  sense  of  filigree  inferiority. 

Lionel  is  the  aristocrat  of  lovers,  the  blase  and  rather  cruel 
being  who  always  gets  his  way  and  gets  it  without  any  contro- 
versy. He  is  the  lover 
who  makes  circum- 
stances adapt  them- 
selves to  him,  never 
himself  to  the  circum- 
stances, insurmountable 
as  they  may  seem. 

There  is  no  ecstasy  of 
abandon  in  loving  him. 
He  is  too  reserved  and 
removed  for  that.  In 
his  caresses  there  is  the 
fire  held  always  under 
control.  He  gives  you 
the  consciousness,  how- 


ever, that  you  are  the  weaker,  the  dominated  being.  However 
much  you  adore  him,  you  still  perceive  that  you  are  only  the 
plaything,  the  dainty  toy,  the  feminine  sauce  piquante  to  his 
definitely  masculine  existence. 

Next  comes  Bert  Lytell,  my  real  lover  and  hero  in  "The 
Eternal  City."  As  a  lover,  he's  as  different  from  Lionel  as 
gold  from  gossamer. 

Bert  is  basically  a  young  lover,  the  visionary,  the  languid, 
the  very  sincere.  Love  is  at  once  a  fine  and  a  fierce  thing  to 
Bert.  You  ieel  that  no  service  would  be  too  great  for  him. 
You  know  he  would  shower  adoration  and  worship  upon  you. 
He  has  the  air  of  being  always  just  a  little  afraid  that  love  is 
going  to  hurt  him,  stab  him  somewhere  in  his  emotional  ex- 
pression. Yet,  when  he  loves,  he  can  not  help  but  be  prodigal 
with  his  devotion.  He  flings  it  about  you  like  a  bacchante 
scattering  rose  petals.  Everything  for  the  moment,  the  hour, 
the  day,  is  joy.  He  never  dreams  for  an  instant  that  he  can 
ever  cease  loving  you  or  you  him.  He  idealizes  women,  love, 
life  and  dreams.  And,  when  he  is  hurt,  his  eyes  become  wells 
of  bewildered  heartbreak  and  his  hurt,  sensitive  mouth  is  like 
a  baby's. 

Thus  he  appeals  to  the  maternal  that  lies  in  every  woman, 
the  maternal  love  that  will  often  hold  you  when  your  sex  love 
is  gone.  It  is  the  little  dreaming  boy  in  him  that  makes  you 
love  him,  the  little  boy  at  whom  you  may  smile  wisely,  but 
very  tenderly. 

Now  Richard  Bennett  has  something  of  this  quality,  too, 
only  he  is  impish.  He's  a  baby,  too,  but  an  impish,  saucy, 
wise  baby.  You  know  you  couldn't  depend  on  him  for  any- 
thing. If  you  sent  him  to  buy  a  pound  of  steak,  he'd  come- 
back with  a  bunch  of  violets.  He'd  play  at  love  and  with  love, 
make  a  game  and  a  song  of  it.  There  is  much  of  the  poet  in 
his  love,  but  you  don't  know  positively  whether  he  is  making 

love  to  you  or  just  act- 
ing for  his  own  admira- 
tion. He  is  the  egotist, 
the  man  who  can  love 
with  only  a  fraction  of 
his  mind  because  most 
of  his  mind  is  concen- 
trated on  his  own  visions. 
I  don't  mean  this  dis- 
paragingly. Most  of  the 
creative  men  of  the 
world  are  egotists.  • 

Dick  is  the  artist  type, 
the  irresponsible,  the 
[  continued  on  page  i  23  ] 

63 


Highlights  and  Shadows 
in  the  History  of  Color 

Turner,  first  of  the  natural  color  experimenters  ot 
the  screen,  fell  dead  at  his  work  over  a  laboratory 
bench  in  London — leaving  his  life  work  a  jumble  of 
secret  formulae  that  none  could  read. 

A  Picture  Postal  card,  one  of  those  naughty  ones 
from  Paris,  helped  to  solve  the  mystery  of  natural 
color  photography  and  gave  the  world  Kinemacolor 
pictures. 

Charles  Urban,  the  patron  and  proprietor  of  the 
first  successful  color  process,  lost  a  knighthood  for 
his  attainments  because  of  a  mysterious  stroke  ot 
desperate  illness  on  the  eve  of  his  greatest  triumph. 

A  Curious  Lawsuit,  instituted  by  a  competitor, 
upset  and  in  effect  destroyed  the  basic  patents  of 
the  natural  color  process,  built  up  by  painstaking 
years  and  vast  expense,  upon  unhappy  Turner's 
beginnings. 

The  Poker  Game  which  changed  the  whole  course 
of  the  history  of  natural  color  in  the  theaters  of  the 
United  States. 

Linda  Arvidson  Griffith  became  the  first  star  of 
natural  color  pictures  in  America — in  productions 
that  never  reached  the  screen. 

The  Kinemacolor  Company  of  America  made 
"The  Birth  of  a  Nation"  in  natural  color,  years 
ahead  of  D.  W.  Griffith — and  did  not  know  it. 

British  Soldiers  stood  guard  in  India  to  protect 
the  precious  Kinemacolor  pictures  of  the  Durbar 
from  threatened  destruction  by  the  agents  of  com- 
petitors with  black  and  white  films. 


The  Romantic 
Motion 


By  Terry  Ramsaye 


<  JSa^.       Urv      •'"s^t-&  * 

ff.-:  j_  Alrt-^SLmZ^iz&iSSSElt 

,~J*-"#fl  • 

i    m  »l 

-^saBaWfr  -''MBfiifii 

Chapter  XX 

NATURAL  color  in  motion  pictures  has,  for  nearly  fif- 
teen years,  glimmered  on  the  motion  picture  horizon, 
occupying  the  speculative,  dallying  attention  of  the  art 
of  the  screen  and  its  followers,  lay  and  professional. 

Back  of  the  intermittent  color  efforts  that  have,  from  time  to 
lime,  come  to  the  screen,  is  a  tale  of  engaging  romance,  a  drama 
high-lighted  with  scarlet  successes  and  shadowed  with  purple 
failures.  It  is  a  tale  which  extends  from  the  little  cubby  hole 
workshops  of  experimenters  to  the  palaces  of  kings.  Along  the 
course  of  the  story  of  color  are  startling  incidents  of  fate,  the 
intervention  of  sudden  death  and  strange  trivialities  of  yester- 
day rising  up  to  determine  the  history  of  tomorrow.  Greed, 
selfishness,  jealousy  and  intrigue  come  in  to  play  their  parts, 
obscuring  the  paths  of  sincere  endeavor. 

Today,  in  1923,  the  career  of  screen  color  has  hardly  more 
than  begun,  and  the  affairs  of  its  twenty-year  life  are  so  closely 
involved  with  that  which  is  yet  to  come  that  it  is  difficult  to 
discuss  them  with  all  of  that  detachment  and  perspective  that 
historical  record  should  require.  To  tell  the  story  of  color  now 
is  somewhat  like  writing  the  biography  of  a  promising  youth  as 
he  nears  the  age  of  his  majority,  with  his  creative  years  all 
ahead. 

As  this  chapter  is  written  in  the  midsummer  of  '23,  the 
natural  color  motion  picture  is  sleeping.  It  is  in  something 
of  the  same  state  of  apparent  decadence  and  apathetic  neglect 
as  was  the  whole  art  of  the  motion  picture  in  the  dark  days 
close  to  1900,  when  its  novelty  of  pictures  that  moved  had  been 
exhausted,  and  the  photoplay,  the  story  film  by  which  the  screen 
became  articulate,  had  not  yet  been  discovered. 

To  the  many  who  feel  that  the  career  of  color  as  a  passing 
but  expensive  and  complicated  novelty  has  been  run,  it  may  be 
pointed  out  that  just  before  E.  S.  Porter  brought  forth  the  first 


A  little  more  than  ten  years  ago  the  first  important  colored 

motion  pictures  were  made  in  India,  the  subject  being  the 

world-famous  Durbar.     This  photograph  shows  the  troops 

waiting  for  the  royal  procession  at  the  camp  near  Delhi 


adventure  story  picture,  "The  Great  Train  Robbery,''  at  the 
Edison  studios,  the  whole  amusement  world  was  fairly  well 
agreed  that  the  motion  picture  had  reached  and  passed  its 
zenith.    The  screen  was  then  less  than  ten  years  old. 

The  beginnings  of  natural  color  on  the  screen  are  now  about 
an  equivalent  distance  in  the  past.  And  now,  significantly  in-, 
deed,  the  butterfly  of  screen  color  is  again  stirring  in  its  cocoon, 
preparatory  perhaps  to  a  rebirth  like  that  which  came  to  the 
screen  with  the  discovery  of  the  story  picture  and  the  rapid 
development  of  the  art  which  created  the  stars. 

The  story  picture,  born  in  the  wee  years  of  the  new  century, 
has  enriched  the  world  with  a  new  kingdom  and  a  new  race, 
the  actor-great,  from  Broncho  Billy  Anderson  at  the  founding 
of  Essanay  of  then,  to  Pola  Negri  of  now. 

Natural  color,  by  all  of  the  signs,  may,  in  like  manner  per- 
chance, bring  to  the  screen  new  realms  of  glory,  hardly  yet  to 
be  imagined. 

Color  had  about  ten  years  of  an  amazing  and  all  but  unknown 
laboratory  career,  beset  with  curious  circumstance.  Then 
came  ten  years'  sleep. 

Turning  back  those  twenty  years  to  the  remotest  beginnings, 
we  come  to  the  year  of  1901  when  Edward  R.  Turner,  a  chemist 
with  an  idea,  called  on  Charles  Urban  in  London  to  enlist  his 
cooperation  toward  applying  natural  color  processes  to  the 
screen.  Turner  was  a  student  of  natural  color  photography  as 
applied  to  the  still  pictures  of  the  ordinary  camera,  under  the 
celebrated  Sanger  Shepherd,  a  name  high  in  the  annals  of  the 
development  of  the  photographic  art  in  Great  Britain. 

Turner  had  been  struggling  with  his  problem  for  some  years 


64 


Copyright.  1923    by  Terry  Ramsaye 


History  of  the 
Picture 


The  Hitherto  Untold  Story  of 
Colored  Motion  Pictures 


Here  is  a  scene  from  "The  Ten  Comrnandments,''  of  which 
the  entire  prologue  is  in  color.     This  prologue  was  photo- 
graphed by  the  Technicolor  process  and  shows  to  what  a  stage 
the  colored  motion  picture  has  advanced 


then.  He  already  had  a  British  patent,  No.  6202,  issued 
March  22,  1899,  a  date  of  interest  in  view  of  the  general  im- 
pression of  the  youth  of  color  processes.  The  motion  picture 
had  been  on  the  screen  only  four  years.  This  patent,  which 
had  not  been  reduced  to  actual  practice,  was  merely  an  idea  on 
paper,  about  as  significant  in  its  way  as  the  patented  idea  of 
Louis  Ducos  DuHaron,  the  Frenchman  who  dreamed  the  mo- 
lion  picture  in  the  sixties,  before  film  was  born. 

Turner  seemed  to  be  close  upon  the  solution  of  the  problem 
of  making  the  screen  present  the  colors  of  the  scene  that  the 
camera  recorded.  He  had  an  idea,  still  pursued  today,  by  some 
experimenters,  of  making  three  images,  each  in  one  of  the 
primary  colors,  to  take  the  place  on  the  screen  of  each  single 
frame  or  image  of  the  ordinary  black  and  white  film.  This 
required  a  camera  which  would  embody  three-color  separation 
filters  and  which  would  make  at  least  forty-eight  exposures  a 
second,  or  three  times  the  number  required  for  the  ordinary 
color  blind  camera. 

Obviously,  if  this  color  record  were  to  be  projected  on  the 
screen  at  the  same  rate  so  that  the  images  would  be  superim- 
posed and  blended  together,  the  colors  would  reproduce  the 
scene,  just  as  the  superimposed  printing  blocks  of  the  color 
process  produce  the  color  effects  on  the  cover  of  Photoplay 
Magazine. 

Turner  turned  to  Urban  as  the  aggressive  leader  in  British 
motion  picture  affairs.  This  same  Urban  had  progressed  a  long 
way  up  the  ladder  since  the  day  when  he  evolved  and  intro- 
duced the  little  portable  motion  picture  projectors  of  1897  in 
the  wilds  of  Michigan.    Turner  needed  not  only  expert  motion 


'  I  'ODAY  the  motion  picture  has  reached  its  great 
-*-  experimental  period.  With  the  art  of  the  screen 
drama  thoroughly  founded  and  established  with  a 
consistent  career  ahead,  many  minds  are  now  turned 
toward  the  technical  betterment  of  the  motion 
picture,  and  toward  widening  the  scope  of  the 
powers  of  the  camera.  In  the  last  very  few  years 
have  come  slow  motion  pictures,  stereoscopic  pic- 
tures and  new  ideas  in  talking  pictures. 

But  oldest  of  all  the  experimental  departures  of 
the  camera  is  the  effort  at  reproduction  on  the 
screen  of  the  colors  of  nature,  a  fulfillment  of  the 
optical  record  as  rhe  eye  sees  it. 

Without  delving  deeply  into  the  technical  intri- 
cacies of  the  processes  involved,  this  chapter  sets 
forth  the  beginnings  and  something  of  the  sub- 
sequent history  of  the  art  of  natural  color  photog- 
raphy for  the  screen. 

It  is  a  story  which,  from  its  beginning  more  than 
twenty  years  ago,  has  involved  a  remarkable  suc- 
cession of  triumphs  and  tragedies.  It  is  laden  with 
all  the  spectacular  and  unexpected  turns  of  destinv 
which  have  characterized  every  phase  of  motion 
picture  history.  This  story  of  the  color  efforts  of 
yesterday  brings  a  direct  connection  with  the  color 
work  of  now,  which  is  rapidly  growing  out  of  the 
experimental  laboratory  onto  the  screens  of  the 
theaters.  There  is  the  promise  of  a  new  realism 
in  the  recording  of  the  screen  stars  of  tomorrow. 

Iamf.s  R.  Ouirk. 


picture  cooperation,  but  money  as  well.  He  was  a  scientist  with 
little  interest  in  material  affairs  outside  of  his  workshop.  He 
was  also  just  losing  a  backer. 

Turning  the  records  of  the  period  over,  it  is  found  that  the 
basic  patent  issue  was  to  Lee  &  Turner.  F.  Marshall  Lee, 
Turner's  first  backer,  was  a  breeder  of  fast  horses  for  the 
British  turf. 

Lee's  participation  in  this  early  labor  in  screen  color  has 
decidedly  the  flavor  of  coincidence,  when  one  recalls  that  it  was 
another  horseman,  Senator  Leland  Stanford,  of  California,  who 
financed  and  encouraged  Eadweard  Muybridge.  one  of  the  prc- 
Edison  experimenters  on  the  problem  of  making  motion  pic- 
tures, way  back  in  the  eighties. 

The  tedious  and  expensive  pursuit  of  Turner's  experiments 
had  exhausted  Lee's  patience  and  interest.  He  did  not  care  to 
go  further.  Urban  acquired  Lee's  interest  in  behalf  of  the 
Warwick  Trading  Company,  the  picture  concern  which  had 
developed  out  of  his  invasion  of  Britain  in  behalf  of  McGuire 
&  Baucus,  Edison  agents. 

Turner  was  set  to  work  on  a  six-month  program  to  bring  his 
patents  idea  to  practise. 

When  Turner's  first  six  months  were  up  he  had  made  no 
appreciable  progress,  in  the  opinion  of  the  somewhat  impatient 
directors  of  the  Warwick  Trading  Company,  Ltd.  They  voted 
to  drop  the  project  and  write  off  their  investment  of  £500. 
Urban  was  more  interested.  With  the  permission  of  the  direc- 
tors, he  took  up  the  burden  where  the  comDany  left  it  and  per- 
sonally financed  the  cxperimenls. 

At  last  a  camera  and  projector  were  evolved  which  gave  a 
ilickering  promise  of  success,  just  enough  suggestion  of  a 
color  picture  to  justify  a  hope.  As  a  color  picture  it  was 
probably  not  quite  as  promising  as  the  dancing  shadows  that 
Woodville  Latham  got  on  the  wall  back  in  the  winter  of  1894-5, 
when  he  was  trying  to  put  the  picture  on  the  screen. 

65 


But  new  optical  problems 
arose.  Zeiss,  Goerz,  Voight- 
lander  Ross,  and  all  the  great 
optical  workers  of  Europe  were 
consulted  and  contributed  to 
the  experiments  at  great  ex- 
pense and  with  little  success. 
The  Ross  concern  produced  a 
lens  which  would  be  remark- 
able indeed  even  today,  a  color 
corrected  optical  system  work- 
ing at  the  amazing  aperture  of 
¥  1.1.  and  with  a  focal  length 
of  five  inches.  This  cost  a 
hundred  pounds.  Meanwhile, 
three  exactly  matched  lenses, 
equally  corrected,  were  re- 
quired for  the  proposed  pro- 
jection machine.  To  make  and 
match  three  lenses  within  the 
degree  of  perfection  required 
was  declared  impossible. 

Turner  went  back  to  his  workshop  to  battle 
with  the  problem.  Another  method  must  be 
found.  Urban  followed  the  process  only  as 
closely  as  his  rather  extensive  interests  else- 
where would  permit. 

One  day  in  early  1902,  as  Urban  sat  at  his 
desk,  there  came  a  crash  from  the  workshop 
nearby  where  Turner  was  brooding  over  his 
baffling  problem. 


The  Worlds  First  Film  Magnate. — Since  the 
publication  of  "  The  Romantic  History  of  the 
Motion  Picture"  began,  Terry  Ramsaye,  the 
author,  has  received  many  interesting  relics, 
among  them  this  picture  of  Norman  C.  Raff,  now 
of  Canton,  Ohio.  This  picture  was  made  when 
Mr.  Raff  came  in  1894  from  Chicago  to  Broadway 
to  sell  the  Edison  peep  show  kinetoscope.  The 
younger  picture  was  made  only  ten  years  ago. 
Mr.  Raff  is  younger  today  than  in  his  motion 
picture  career  of  the  '90's 


When  Urban  ran  into  the  room  Turner  was 
stretched  on  the  floor,  stone  dead.  His  heart  had 
failed. 

Turner's  notes,  models  and  formulae  were 
scattered  about,  where  he  had  been  laboring  over 
them,  striving  for  a  clue  to  the  solution.  No  one 
else  knew  the  meaning  of  half  of  them.  The  most 
of  what  Turner  had  attained  died  with  him. 

Urban  had  no  chemical  knowledge,  and  no  time 
to  spend  on  the  mystery  of  trying  to  piece  back 
the  fragments  of  progress  that  Turner  had  left. 
But  he  acquired  Turner's  interest  from  the  widow 
and  then  cast  about  for  some  one  to  continue  the 
research. 

G.    Albert    Smith,   of    Brighton,    England,   a 
photographer   and   scientific   experimenter,   was 
finally  retained  by  Urban  to  go  forward  with  the 
work.    All  of  Turner's  experimental  devices  and 
data  were  taken  down  to  Brighton.     Urban 
was  to  continue  financing  the  work,  and  he 
and  Smith  were  to  share  and  share  alike  on 
any  commercial  benefits  that  might  accrue. 
Years  went  by.     Week-ends,  Urban  jour- 
neyed to  Brighton  to  help  Smith  and  con- 
tribute to  his  efforts. 

It  became  evident  that  the  three-color 
process  would  probably  never  prove  prac- 
tical, even  though  theory  demanded  it.  It 
was  entirely  too  complicated  and  costly  to 
hold  a  commercial  future.  The  researchers 
were  in  despair. 

Then,  in  its  usual  eleventh  hour  manner, 
fate  again  intervened,  this  time  in  their  be- 
half. 

Mr.  Urban  was  in  Paris  on  one  of  his 
monthly  excursions  to  look  into  the  affairs  of 
the  Urban-Eclipse  studio,  when,  having  color 
on  his  mind,  he  was  interrupted  on  the  boule- 
vard by  a  street  faker's  display  of  novelty  pic- 
ture postal  cards. 

These  cards,  it  must  be  blushingly  ad- 
mitted, were  decidedly  Parisian.  They  were 
made  in  two  transparent  parts,  one  red  and 
one  green.  Either  viewed  alone  presented  a 
simple  and  f  continued  on  page  i  25  ] 


Robert  W.  Paul  of  London,  the  first  man  in  Great 
Britain  to  see  motion  pictures  on  the  screen 


©  Underwood  &  Underwood 

Charles  Urban  rose  to  success  and  millions  with  Kin- 
emacolor,  the  first  natural  color  motion  picture  process 


66 


Iltssoi 


HPHE  elfin  child,   the  wistful  tom-boy,  the   Peter   Pan   of   the    silver   sheet! 

*■  A  portrait  of  Mabel   Normand   that  is   really   unique — for   somehow   the 

camera  has  managed  to  imprison   the  lady's  personality   and  elusive   charm! 


Freulich 


Bloom 


r^EORGE  WALSH  was  once  a  Fordham  football 
^*  star.  He  used  to  work  in  serials.  Then  came  a 
big  chance,  in  "Vanity  Fair,"  another  in" Rosita," 
and    now,   they  say,  he  will  play   "Ben   Hur" 


A  Sthe  Mark  Sabre  of  "If  Winter  Comes,"  Percy 
■**■  Marmont  met  with  a  reception  so  warm  that 
it  almost  melted  the  ice  in  the  title.  He  is  the 
human,    wistful   Hutchinson    hero — to  the  life! 


I  I«-s-ser 


Secly 


f()HN  GILBERT  as  a  gentleman  gambler — 
**  the  Cameo  Kirby  of  stage  fame.  Note  the 
sheik  look  in  his  eyes,  and  you  will  see  why 
he   has   been    named   as  a   Valentino  successor 


TSUALLY  cast  as  a  cripple  or  feeble-minded, 
^  George  Hackathoi  ne  may  be  counted  upon 
to  give  a  performance  full  of  color  and  pathos. 
The  most  promising  of  the  younger  generation! 


M 


White 


A  NN  PENNINGTON'S  twinkling  toes  are,  just  at  present,  captivating  the 
■**■  provinces.  No  "Follies"  or  "Scandals"  cast  seems  complete  without  her  vivid 
presence   and    fascinating    dancing.    But — whisper    it! — she    rouges   her   knees! 


Burke 


*TPHE  silver  sheet  lured  charming  Dorothy  Mackaill  from  the  "Follies."'  Then 
-*-  were  some  unimportant  parts,  and  then  came  the  opportunity  to  play  op- 
posite Dick  Barthelmess  as  the  masquerading  heroine  of  "The  Fighting  Blade" 


In 


"Now  isn't, 
that  too  bad?" 
she  drawled 


'Be  Yourself" 


By  Roy  Milton  Iliff 

Illustrated  by  R.  Van  Bur  en 


An  amusing  tale  of  a  "somewhat  different"  girl 
who  wanted  to  be  a  screen  star 


NO,  Flappo — ,"  that  was  the  way  Bishop,  casting 
director  for  the  H-B  Film  Company,  always  ad- 
dressed the  second  person  singular  of  the  genus  flap- 
pers, "No,  Flappo,  we  ain't  got  a  thing.  Full  up  on 
leading  ladies  and  stars,  and  I  wouldn't  think  of  offering  you 
anything  less." 

Bishop  had  heard  another  casting  director  pull  that  on  an 
applicant  who  looked  a  little  bit  "upstage,"  and  he  had  bor- 
rowed it  for  use  on  girls  who  didn't  show  the  proper  humility  in 
his  presence.  He'd  done  lots  of  damage  with  it,  too,  but  this 
girl — tall  and  straight,  with  cool  green  eyes — didn't  register 
the  right  emotion. 

"Now  isn't  that  too  bad?"  she  drawled,  "And  there  must  be 
such  splendid  opportunities  here,  too.  Otherwise  they  wouldn't 
promote  janitors  to  casting  directors  as  quickly  as  they  must 
have  promoted  you."  Then  she  ba'thcd  him  in  a  wide,  sweet 
smile,  turned  on  her  heel  and  undulated  out. 


You  couldn't  get  a  "wham"  like  that  under  Bishop's  hide 
with  a  hypodermic,  but  he  knew  by  her  smile  and  the  mocking 
way  she  sauntered  out  that  she  thought  she  had  left  the  iron 
in  him  somewhere,  and  he  felt  around  for  it. 

"Say!"  he  demanded  of  me,  "what  kind  of  a  crack  was  that? 
I  ain't  never  been  a  janitor  here.    I  was  a  property  man." 

"I  know  it,"  I  says,  "but  you  see  she  don't." 

"Guess  not,"  he  agreed.  "Probably  a  new-comer  and  not 
up  on  who's  who  around  the  studios." 

"That  may  be,"  I  says,  "but  she's  got  the  right  system  for 
finding  out."  Then  I  eased  out  to  follow  Miss  Green-eyes. 
I  had  an  idea  she  might  be  interesting. 

I  caught  her  waiting  for  a  street  car  on  the  boulevard  and  I 
went  up  to  her,  doing  my  stuff  as  nice  as  I  knew  how.  "  Pardon 
me,"  I  says,  "but  could  I  have  one  word  with  you?" 

She  looked  me  over  with  a  slow  look  that  made  me  feel 
mostly  hands,  feet,  and  foolish  grin. 

71 


"One  word  is  right,"  she  says.  "And  that  word  is  git!" 
And  she  stamped  it  in  with  her  foot — Wham! 

"Excuse  me.  lady,"  I  bleats.  "You've  got  me  wrong.  I'm 
a  casting  director  and  I  thought  I  might  be  able  to  use  you." 

"Oh,"  she  says,  smiling  a  little,  "you're  one  of  the  men  that 
get  people  into  the  pictures?" 

"  Well,"  I  says,  "mostly  I  keep  'em  from  getting  in,  but  now 
and  then  I  let  one  slip  by." 

"  You  talk  my  language,"  she  says,  turning  on  the  full  voltage 
of  her  smile.  "What's  your  studio,  and  at  what  hour  do  you 
have  your  back  turned?" 

"The  Beaux  Arts.  And  the  casting  director's  shanty  at  2:00 
p.  m.    The  pass-word  is  'janitor'." 

And  that's  how  Mollie  Medford  broke  into  the  "  Movies." 

At  first  I  had  hopes  that  she  might  be  one  of  them  rare  events 
that  most  casting  directors  live  in  vain  for — a  "  find."  She  had 
personality,  brains  and  nerve,  and — aside  from  being  a  little 
thing — wasn't  exactly  an  eye-strain,  but  somehow  she  couldn't 
be  anything  but  Mollie  Medford.  "Be  yourself!"  That  was 
her  motto  and  she  took  it  with  her  when  she  went  in  front  of 
the  camera.  Not  that  she  was  camera-conscious  or  awkward — 
she  didn't  act  like  she  had  any  surplus  hands  or  had  learned  to 
walk  in  snow-shoes — but  she  had  the  odd  idea  that  she  ought  to 
act  in  a  picture  just  like  she  would  in  the  same  situation  in  real 
life.  And  that  is  all  wrong,  as  you  can  tell  by  thinking  over 
most  any  "movie"  you've  seen  lately. 

Another  thing  that  didn't  help  her  any  was  her  habit  of  want- 
ing to  know  what  everything  was  about  and  why.  Little  Frank 
Steele  told  her  how  that  went,  one  day.  He'd  been  generous 
enough  to  give  her  a  fat  bit  in  a  picture  he  was  doing;  told  her 
how  to  make  up,  and  all  that,  and  when  he  got  ready  to  re- 
hearse the  scene  told  her  what  to  do,  just  as  plain  as  anything. 
"  Now,  you  sec  that  old  man  lying  there  on  the  bed?  All  right, 
he's  your  father  who  has  been  murdered.  You  rush  on;  stop 
and  register  horror,  then  rush  to  the  bed  and  fall  over  his  body 
weeping.     Get  me?" 


She  studied  the  scene  a  minute; 
her  forehead  puckered  up  like  the 
whole  thing  depended  on  her.  "  But 
why  has  he  been  murdered?  What 
kind  of  a  father  was  he,  and  what 
kind  of  a  daughter  am  I?" 

Frank  snorted.  "Hell!  I'm  not 
asking  you  to  act  the  whole  play! 
You're  just  doing  this  one  bit  in 
this  one  scene." 

"I  know — but  don't  you  think  I 
could  do  it  better  if  I  knew  more 
about  him  and  more  about  the  girl 
I'm  supposed  to  be?" 

"  No.  You'd  do  it  like  you  think 
it  ought  to  be  done.  I'm  the  one 
that's  getting  paid  to  do  the  think- 
ing; you're  paid  for  acting." 

Makes  sense,  don't  it?  But  don't 
you  know,  she  wanted  to  argue 
about  it.    Yes,  argue! 

Guess  you  can  see  now  why  she 
never  got  beyond  "atmosphere" 
and  little  bits  of  general  business 
that  didn't  call  for  any  real  acting. 
Directors  have  enough  trouble  with 
their  leads,  without  having  extra 
people  worry  them  about  little 
things  that  don't  count  nohow.  She 
was  stubborn,  though,  and  hung  on; 
black-jacking  me  into  shoving  her 
off  onto  directors  that  already 
hated  me,  and  when  she  couldn't 
get  anything  on  the  lot  she  would 
go  around  to  the  office  and  do  type- 
writer sonatas  that  sounded  like 
rain  on  the  roof.  On  top  of  that, 
she  got  to  be  something  of  a  "wiz" 
at  make-up — spent  hours  studying 
it,  she  told  me — and  the  assistant 
directors  found  her  handy  when 
they  were  working  gangs  of  extras 
in  costume  stuff. 

"Oh,  I'm  versatile,  I  am,"  she 
said   to   me,  one  day.     "  Good   at 
everything  but  the  one  thing  I  came  here  to  do." 

"Maybe  you'd  be  better  at  that  particular  thing,"  I  sug- 
gested, "if  you'd  spend  less  time  telling  the  directors  how  you 
want  to  do  it,  and  more  time  trying  to  do  it  the  way  they  want 
it  done." 

"  Maybe  I  would,"  she  admits.  "  But  look  what  the  directors 
would  be  missing.  They'd  never  know  that  they'd  been  doing 
it  wrong." 

"Great  Caesar's  Ghost!  Are  you  trying  to  be  one  of  them, 
too?" 

"One  of  what?" 

"These  high-brows  that  arc  trying  to  reform  and  refine  the 
movies  so  that  ninety  per  cent  of  the  people  won't  know  what 
they're  about." 

She  shook  her  head.  "Not  me.  But — what  arc  the}' about?" 
Now,  I  ask  you — what  could  you  do  with  a  girl  like  that? 
And  she'd  talk  that  way  to"  anybody  that  was  big  enough  to  hit 
back;  directors,  stars,  leads,  assistant  directors — anybody  at  all. 
Another  thing  I  noticed  was  that  she  seemed  to  have  the  idea 
that  there  was  only  two  kinds  of  people  around  the  studio: 
the  kind  that  was  all  wrong  and  needing  spanking,  and  the 
kind  that  was  all  wronged  and  needed  mothering.  A  lot  of  the 
time  she  was  mothering  some  sad-eyed  mistake  that  had  wan- 
dered onto  the  lot,  but  she  never  was  too  busy  doing  that  to 
stop  and  spank  some  spoiled  darling  that  riled  her.  And  know- 
ing just  where  each  particular  spankee  stung  the  easiest  she 
was  mighty  successful  in  that  line.  But  I  begged  her  to  lay 
off  of  it.  I  knew  that  sooner  or  later  she  would  spank  somebody 
who  would  tell  Mamma — meaning  the  Old  Man  Himself — and 
then  look  where  she'd  be  at!  But,  no.  She  wouldn't  listen, 
and  then  come  the  day  when  she  tried  to  spank  Adolpho 
Antonio. 

Adolpho,  who  had  been  borrowed  from  the  Ne  Plus  Ultra 
for  one  picture,  had  more  kinds  of  temperament  than  an  onion 
has  layers.  Some  people  kinda  intimated  that  some  of  it  was 
hypodermically  induced,  but  however  that  was,  he'd  plenty  of 


Take  that  mail  off,"  lie 
mooned.  "Take  tiini  out  of 
mij  sight  or  I  won't  be  able  to 
do  a  scene.     O-o-oh!" 


72 


it.  Boy! — Yes!  Well,  on  the  second  day  he  worked  he  camp 
on  a  scene  and  found  a  character  there  wearing  a  purple  robe. 
Now  it  seems  that  purple  was  the  one  color  that  made  his 
soul-stuff  jell,  and  he  flopped  down  on  a  bench  and  covered  his 
eyes  with  a  trembling  hand.  "  Take  that  man  off ! "  he  moaned. 
"Take  him  out  of  my  sight  or  I  won't  be  able  to  do  a  scene! 
O-o-oh!" 

Mollie,  who  was  doing  a  small  bit  in  the  scene,  happened 
to  be  sitting  on  the  same  bench  he  flopped  on,  and  she  imme- 
diately lifted  her  voice  in  a  long  wail.  "Mamma — Mamma!" 
She  howled, — "That  blue  sky!  Take  it  away — take  it  away 
and  make  it  cloudy!    If  you  don't,  I  can't  cry  a  tear!" 

That  little  stunt  cost  exactly  nine  thousand  dollars,  for 
Adolph  flew  away  home  and  stayed  there  until  everybody  from 
the  Old  Man  Himself  to  Yours  Humbly  had  kissed  his  hands 
and  wept  on  his  feet.  After  he  came  back,  though,  he  wasn't 
half  bad  to  work  with,  but  I  think  he  must  have  been  dirty 
enough  to  whisper  something  in  the  Old  Man's  ear.  Anyhow, 
the  Old  Man  called  me  into  his  office  after  Adolph  went  back 
to  work,  and  told  me  just  what  he  thought  of  Mollie.  He  also 
told  me  to  go  tell  her  as  much  of  it  as  I  dared,  and  then  fire  her 
when  I'd  told  her.    Yes,  me! 

Orders  being  orders,  of  course  I  went.  But  knowing  Mollie 
like  I  did,  I  decided  it  might  be  best  to  be  kinda  diplomatic. 
So  at  lunch  in  the  studio  cafeteria  I  began  moaning  to  her  about 
my  lack  of  success  in  the  movies;  complaining  about  my  lack 
of  push,  pull,  or  whatever  it  was  that  I  lacked — carrying  on  like 
that  as  long  as  I  could  without  getting  a  stinging  comeback — 
then  I  switched  to  her.  "And  you,  too,  Mollie — look  at  you 
.  .  .  You've  got  brains  and  nerve  and  you're  something  of  a 
type,  but  where  are  you  after  two  years  of  the  game?  There's 
a  stubborn  streak  of  something  in  you  that  will  keep  you  from 
ever  being  a  real  actress.  I  don't  say  it  ain't  a  mighty  fine 
streak,  but  it's  one  that  queers  you  in 
this  four-flushing  game  .  .  .  What  do 
you  say,  Mollie — let's  chuck  it?  You're 
a  cracker-jack  stenographer  and  you 
could  do  a  whole  lot  better  as  a  secretary 
to  some  big  business  man,  and  maybe  I 
could  tie  up  with  some  big  distributor. 
What's  the  use  of  plugging  along  here 
and  eating  our  hearts  out?" 

.  She  pretended  that  she  was  worried 
something  awful.  "What  did  you  eat 
for  breakfast,  Mack?" 

"My  God,  Mollie!"  I  yelps,  "do  I 
have  to  cry  to  make  you  believe  that  I'm 
serious?  Use  your  bean!  We're  fools 
for  sticking  around  here!" 

"Why  the  'we'  stuff,  Mack?"  She 
asks,  dry-like.  "If  you're  sick  of  the 
game,  go  on  and  break  away.  Me,  I 
like  it,  and  I'm  going  to  linger  longer." 

"  But  what  are  you  getting  out  of  it?  " 

She  drew  a  deep  breath  and  looked 
really  serious.  "A  chance  .  .  .  See 
here,  Mack!  We're  pretty  good  pals, 
aren't  we?" 

"We  must  be.  You  treat  me  just  as 
brutal  as  if  we  was  married,  and  we  both 
seem  to  like  it." 

"Then  maybe  you  wouldn't  mind  a 
little  bit  of  biography — just  between 
ourselves." 

"Not  if  it  ain't  one  of  these  'and  I 
learned  about  men  from  him'  kind." 

"It  isn't — altogether — so  here  goes 
.  .  .  Mack!  I  was  a  preacher's  daugh- 
ter!" She  stopped  like  she  expected 
some  kind  of  an  outburst,  but  I  regis- 
tered sympathy,  and  she  went  on  .  .  . 
"And  such  a  preacher!  New  England, 
he  was,  and  groggy  with  brimstone  and 
sulphur  all  the  time.  A  spiritual  being 
if  there  ever  was  one,  but  he  had  many 
crosses.  Among  them  being  nine  kids 
that  just  would  be  human,  and  a  stom- 
ach that  had  to  be  doctored  all  the  time 
with  some  kind  of  stomach  bitters  that 
he  bought  by  the  case.  He  did  all  he 
could  for  us — lammed  the  stuffing  out  of 
us  everyday  and  prayed  us  out  of  hell 


every  evening,  but  I  guess  we  were  too  hopeless  for  any  good. 

"Anyhow,  by  the  time  I  was  eighteen  I'd  fallen  in  the  pit 
and  been  prayed  out  so  often  that  I  felt  I  must  be  singed  beyond 
recovery,  and  I  ran  away — to  New  York.  I  thought  New  York 
probably  wouldn't  care  how  depraved  I  was,  and  I  found  out 
that  they  didn't.  I  also  found  out  that  they  didn't  care  how 
hungry  I  got.  Not  New  York.  I  cared,  though,  so  just  before 
my  belt  buckle  sank  out  of  sight  in  my  spine,  I  wept  myself 
into  a  job — pearl-diving  in  a  Greek  restaurant!  Somehow  my 
rustic  beauty  must  have  touched  that  bunch  at  Popolinkatos', 
for  they  started  in  on  me  while  I  was  still  hungry.  My  score 
the  first  day  was  one  cook,  one  bus-boy,  and  one  waiter.  Most 
of  the  scoring  being  done  with  anything  heavy  or  sharp  that 
was  handy,  the  boss  complained  about  the  casualties,  but  good 
New  England  dishwashers — the  kind  that  wash  'em  on  both 
sides,  you  know — were  scarce,  and  he  let  me  stay  on.  After 
the  first  day  the  boys  didn't  have  so  much  trouble  making  then- 
hands  behave,  and  I  stayed  there  for  six  months — going  from 
dishwasher  to  waitress,  and  waitress  to  cashier.  After  being 
compelled  to  make  good  on  a  counterfeit  bill  that  had  been 
slipped  to  me  by  a  regular  customer,  I  hopped  off  into  'trade.' 
You  guessed  it — Five  and  Ten  Cent. 

"Well,  that  got  eight  months  of  my  life,  at  least  eight  years 
of  my  patience,  and  practically  all  of  my  love  for  the  more  or 
less  human  being.  Next  it  was  'business.'  A  year  and  half 
of  it,  with  night  school  as  a  light  diversion;  then  the  front  office 
as  a  'steno.'  And  that's  where  I  got  acquainted  with  these  big 
business  men  you  spoke  of  so  tenderly  awhile  ago.  ...  I  may 
have  been  all  wrong,  but  two  years'  association  with  them  con- 
vinced me  that  there  were  only  two  kinds  of  them:  the  kind 
that  thought  a  stenographer  was  a  female  'Robot,'  and  the 
kind  that  thought  she  was  a  business  college  concubine. 

"Having  the  idea  that  I  had  a  [  continued  on  page  ho] 


He'd  got  it  all.  I 
could  tell  that  by  the 
expression  of  his 
eyes.  He  simply 
was  sect  h  in  g  with 
poison 


7.: 


THE  NATIONAL  GUIDE  TO  MOTION  PICTURES 

The 


^^^ 

Ugjm 

1  Ij^W 

BL^l^^il^H 

I 

ROSITA— United  Artists 

THERE  has  been  a  lot  of  worriment  over  the  fact  that 
Mary  Pickford  was  going  to  grow  up.  Don't  worry. 
Mary  has  grown  up  in  "  Rosita,"  but  she  is  just  as  charming, 
just  as  fascinating  as  ever  and  she  does  better  acting  than 
ever  before  in  her  career.  There  is  probably  no  actress 
today  who  could  portray  the  gay,  graceful,  coquettish, 
little  street  singer  of  Seville  who  "vamps"  a  king,  as  she 
does.  The  production  is  incomparably  beautiful.  The 
sets  seem,  many  of  them,  almost  fairy-like  in  their  loveliness. 
The  production  shows  why  Ernst  Lubitsch  holds  his  place 
among  the  leading  directors  of  the  world.  Except  in  one 
or  two  minor  details,  the  direction  is  flawless  and  the  story 
moves  with  a  smoothness  that  is  most  satisfying.  No,  don't 
worry  about  Mary  growing  up. 


THE  WHITE  SISTER— Inspiration  Pictures 

LILLIAN  GISH  scores  another  personal  triumph  in  her 
much  heralded  production  of  the  popular  Marion  Craw- 
ford novel.  As  a  young  girl,  orphaned,  turned  out  of  her 
home  by  the  cruel  older  sister,  and  finally  bereft  of  her  lover, 
she  goes  through  every  shade  of  emotion.  When,  after 
becoming  a  nun,  the  lover  miraculously  returns  to  her,  the 
situation  reaches  an  intensity,  a  passion,  that  calls  for 
superb  acting.  The  climax  of  the  renunciation,  and  of  the 
following  volcanic  eruption  that  gives  the  lover  a  chance  to 
die  as  a  hero,  is  well  handled.  Henry  King's  direction  is 
good.  Though  Miss  Gish  may  not  reach  the  peaks  of 
expression  that  she  did  under  Griffith's  supervision,  her 
work  is  more  evenly  balanced  and  human.  She  is  a  woman, 
rather  than  a  temperamentally  high-strung  girl. 

n 


Shadow 


(REG.  U.  S.  PAT.  OFF.) 


A  Review  of  the  J^ew  Pictures 


THE  HUNCHBACK  OF  NOTRE  DAME— Universal 

IN  spite  of  the  liberties  taken  with  the  Victor  Hugo  novel, 
this  picture  is  a  superb  and  remarkably  impressive  spec- 
tacle. The  Hugo  story  is  pure  melodrama,  and  the  picture 
is  just  that,  with  the  addition  of  some  of  the  most  stupendous 
and  interesting  settings  ever  shown.  The  reproductions  of 
the  Cathedral  of  Notre  Dame  and  of  the  squares  and  streets 
of  old  Paris  are  extremely  well  done,  as  are  the  scenes  in  the 
bell  tower. 

The  only  fault  that  can  be  found  is  that  the  story  suffers 
for  the  benefit  of  the  spectacular  features  of  the  picture,  the 
continuity  being  somewhat  jerky.  Setting  aside  even  the 
marvelous  spectacular  features,  the  picture  is  very  much 
worth  while  because  of  the  acting  of  Lon  Chaney  in  the 
title  role.  His  performance  transcends  anything  he  has 
ever  done,  both  in  his  make-up  and  in  his  spiritual  realiza- 
tion of  the  character.  He  is  weird,  almost  repellent  at  times, 
but  always  fascinating.  He  falls  short,  perhaps,  in  creating 
the  sympathy  which  is  the  due  of  the  Hunchback,  but  he 
more  than  atones  for  this  by  the  wonderful  acting.  The 
scenes  in  which  he  hurls  logs  and  boiling  pitch  on  the  mob 
attacking  Notre  Dame,  and  his  wild  glee  at  the  effect  of  his 
bombardment  must  be  seen  to  be  appreciated.  Director 
Wallace  Worsley  has  handled  the  crowds  with  much  skill. 
The  scenes  in  which  the  mob  flows  up  the  steps  of  Notre 
I  lame  and  batters  in  the  doors  of  the  old  cathedral  are  ex- 
tremely striking.  Ernest  Torrence  contributes  a  masterful 
performance  as  Clopin,  king  of  the  beggars.  And  Patsy 
Ruth  Miller  is  always  appealing  as  Esmeralda.  This  pic- 
ture should  be  placed  on  your  list  and  not  missed  by  any 
means. 


SAVES  YOUR  PICTURE  TIME  AND  MONEY 


The  Six  Best  Pictures  of  the  Month 

THE  HUNCHBACK  OF  NOTRE  DAME 

SIX  DAYS  ROSITA 

POTASH  AND  PERLMUTTER 

IF  WINTER  COMES  THE  WHITE  SISTER 


The  Six  Best  Performances  of  the  Month 

Lon  Chaney  in  "The  Hunchback  of  Notre  Dame" 

Percy  Marmont  in  "If  Winter  Comes" 

Mary  Pickford  in  "Rosita" 

Holbrook  Blinn  in  "Rosita" 

Lillian  Gish  in  "The  White  Sister" 

Corinne  Griffith  in  "Six  Days" 

Casts  of  all  pictures  reviewed  will  be  found  on  page   108 


■ 

I 

I           HP  -          .    . 

v 

1      ■MP 

IF  WINTER  COMES— Fox 

A  NARRATIVE  that,  curiously  enough,  absolutely 
follows — both  in  continuity  and  tilling — the  author's 
text.  It  is  told  with  a  sympathy  and  a  dramatic  force  that 
are  the  more  poignant  because  of  a  lack  of  heroics! — this 
story  of  a  man  who,  to  follow  his  groping  idea  of  the  right, — 
allows  himself  to  be  broken  upon  the  wheel  of  life.  The 
cast  is  perfectly  chosen — in  physical  characteristics  as  well 
as  acting  ability — and  Percy  Marmont,  as  the  whimsical 
"puzzle-head,"  Mark  Sabre,  contributes  one  of  the  best 
screen  performances  of  this  year.  Or,  for  that  matter,  of 
many  others! 

One  doubts  that  the  picture  will  be  universally  popular. 
It  is  almost  too  subtle — and,  at  the  same  time,  too  real. 
But  the  pull  of  the  great  dramatic  moments  will  be  felt  by 
everyone.  When  old  Mrs.  Perch  dies,  when  little  Effie 
Bright  (splendidly  played  by  Gladys  Leslie)  cast  off  by  the 
world,  comes  to  the  Sabre  home  with  her  nameless  baby  in 
her  arms.  When  Mark  Sabre,  inarticulate  and  horror- 
stricken,  faces  the  coroner's  jury,  after  Effie's  suicide,  and 
when — able  at  last  to  be  revenged  upon  his  enemy  Twyning 
— he  finds  that  the  death  of  the  man's  son  has  taken  the 
matter  out  of  his  hands. 

This  is  a  fine  picture.  Cameo-like,  in  places;  in  other 
spots  it  has  an  almost  brutal  force.  Not  too  much  credit 
can  be  given  to  Harry  Millarde,  the  director — and  to  that 
person  who  is  responsible  for  the  personnel  and  for  the 
delightful  locations  in  rural  England.  Ann  Forrest,  as 
Nona,  is  the  wistful  good  sport  that  Hutchinson  wrote  into 
his  story.  No  one  who  loved  the  book  will  be  disappointed 
in  this  version  of  it.    Nothing  more  need  be  said! 


SIX  DAYS—Goldwyn 

THIS  is  a  splendid  picture — far  better  than  any  of  Elinor 
Glyn's  other  attempts  to  write  for  the  screen.  It  marks 
also,  the  debut  of  lovely  Corinne  Griffith  in  a  non-Yitagraph 
production.  As  the  daughter  of  a  penniless  but  ambitious 
woman,  she  is  nearly  forced  into  a  marriage  of  convenience — 
but  she  meets  a  young  sculptor  (Frank  Mayo)  and  they  fall 
violently  in  love.  Though  they  get  noble — and  decide  to 
give  each  other  up — a  remarkable  adventure  throws  them 
into  each  other's  arms.  They  are  walled  up,  together  with 
a  priest,  in  a  deserted  mine,  and  are  forced  to  stay  there, 
for  six  days,  with  only  the  faintest  hope  of  rescue.  From 
then  on  the  action  quickens — and  there's  no  let  down  until 
the  final  close-up.  Excitement  to  the  very  end,  an  ade- 
quate cast,  and  some  really  unique  scenic  effects. 


POTASH  AND  PERLMUTTER— First  National 

FOR  many  years  a  stage  success,  the  famous  cloak  and 
suit  partners  have  reached  the  screen  at  last.  More  than 
that,  the  characters  are  played  on  the  screen  by  the  two 
men  who  made  them  famous  on  the  stage — Barney  Bernard 
and  Alexander  Carr.  Nothing  is  lost  in  the  translation  to 
the  screen.  Here  is  a  picture  which  is  always  entertaining 
and  interesting,  filled  with  laughs,  interspersed  with  a  tear 
or  two  and  with  a  story  told  straightforwardly  and  con- 
nectedly. 

The  cast  throughout  is  excellent.  Barney  Bernard's 
work  for  the  camera  unquestionably  is  fully  up  to  his  stage 
reputation. 

Briefly,  this  is  a  real  picture — one  that  should  be  seen 
at  any  reasonable  cost. 


WS£^ 


WHY  WORRY?— Pat  he 

TIIK  thrills  of  ''Safety  Last"  have  been  replaced  by 
laughs  in  tliis  latest  Harold  Lloyd  picture.  As  a  million- 
aire hypochoqdriac,  Mr.  Lloyd  goes  to  Central  America  for 
a  resl  and  finds  a  revolution.  He  cures  a  giant  of  toothache, 
thereby  making  the  colossus  his  slave,  and  the  two  wreck  the 
revolution.  So  long  as  Mr.  Lloyd  can  make  comedies  as 
good  as  this  one.  why  worry? 


A 


WHERE  THE  NORTH  BEGINS— Warner  Brothers 

TINY  puppy  dog  is  lost  on  a  northern  trail,  and  is 
brought  up  by  a  wolf  pack.  Knowing  nothing  of 
civilization  he  sees  his  first  white  man,  and  feels  the  tug  of 
a  world-old  friendship.  From  there  on  the  story  is  com- 
monplace, but  the  canine  acting  of  Rin-tin-tin,  the  dog,  is 
superb.  One  photograph  of  him,  outlined  against  the  gray 
sky,  is  worth  the  price  of  admission! 


RUGGLES  OF  RED  GAP— Paramount 

JAMES  CRUZE  has  made  a  most  amusing  picture  of  this 
Harry  Leon  Wilson  story,  aided  and  abetted  by  Ernest 
Torrence,  Edward  Horton,  Lois  Wilson  and  others.  The 
Hollywood  Paris  scenes  are  extremely  good,  as  are  those 
of  social  activities  in  Red  Gap.  Mr.  Horton  is  excellent  as 
the  English  valet,  won  by  Cousin  Egbert  in  the  poker  game, 
and  Mr.  Torrence,  of  course,  does  wonderfully,  as  usual. 


D 


ROUGED  LIPS— Metro 

ELIGHTFUL  Viola  Dana  brings  to  life  a  good  little 
'chorus  girl  who,  to  win  the  man  of  her  heart,  squanders 
her  savings  for  lovely  clothes.  Unfortunately  the  man — 
being  bred  of  Broadway — misunderstands  the  gorgeous 
plumage,  and  there's  a  lot  of  heartache  and  trouble.  The 
story  gets  off  to  a  slow  start,  but  it  shows  considerable 
speed  toward  the  end.     Entertainment  for  everybody. 


THE  CHEAT— Paramount 

WHEN  it  overcomes  a  slow  start  with  cabarets  and 
fashion  displays  and  gets  down  to  business  the  picture 
becomes  convincing  and  absorbing.  Pola  Negri  is  glorious 
in  looks  and  acting,  but  there  is  nothing  inspired  about 
Fitzmaurice's  direction,  considering  the  material  he  had  to 
work  with.  It  is,  however,  a  mighty  fine  entertainment, 
just  missing  being  a  big  picture. 

76 


THE  SILENT  COMMAND— Fox 

A  STORY  of  the  navy  and  of  the  men  who  make  up  the 
personnel  of  the  navy.  A  strong  narrative  of  the  sea. 
well  told  but  in  no  way  striking — except  for  the  really 
wonderful  bits  of  storm  photography.  There  are  some  con- 
vincing fights,  too — but  no  opus  of  the  navy  would  be  com- 
plete without  fights!  Betty  Jewel  is  the  prettiest  thing  in 
the  cast.     For  the  entire  family. 


Photoplay  Magazine — Advertising  Section 


77 


"I  find  the  new  Cutex  Liquid  Polish  so  convenient.  It  spreads  on 
thin  and  evenly  and  dries  quickly.  It  gives  a  jewel-like  glisten  I  like 
ivhen  I  ivant  my  nails  brilliant." 


"It  gives   '  * 
a  jewel-like  glisten 


ink 


C     —MARY  NASH 


Today  beautiful  women  everywhere  are  adding  the 
dainty  refinement  of  gleaming  rose  lustre  to  their 
finger  tips.  Mary  Nash,  who  is  so  famous  for 
her  beautiful  hands,  insists  on  having  a  jewel-like 
glisten  on  her  rosy  nails.  That  is  why  she  is  so 
enthusiastic  about  the  new  Liquid  Polish  which 
Cutex  has  perfected. 

Besides,  she  says,  "I  find  the  new  Cutex  Liquid 
Polish  so  convenient.  It  spreads  on  thin  and 
evenly  and  dries  quickly." 

It  has  been  planned  so  carefully  that  the  polish 
will  spread  quickly  and  smoothly.  It  never  leaves 
ridges  or  sticky  brush  marks,  but  gives  an  even  and 
beautifully  lustrous  polish. 

The  rose  brilliance  of  Cutex  Liquid  Polish  will 
last  for  a  week.  No  matter  how  often  you  have  your 
hands  in  water,  the  shine  will  not  grow  dull  or 
fade,  and  best  of  all  it  will  not  crack  or  peel  off. 
You  can  always  be  certain  that  your  nails  will  have 
the  same  jewel-like  lustre. 

No  need  for  a  separate  polish  remover 

When  you  give  yourself  a  fresh  manicure  with 
Cutex  Liquid  Polish,  you  need  not  bother  with  a 
separate  remover  to  take  off  the  old  polish.  Just  one 
little  touch  of  the  polish  itself,  then  wipe  off  each 
nail  while  it  is  still  wet  and  you  are  ready  for  the  new 
application  with  its  smooth  and  shining  rose  surface. 


Photographs  of  Mary  Nash  by  Nickolas  Muray 

This  new  liquid  polish  spreads  evenly  and  smoothly. 
It  lasts  a  'whole  -week  'without  cracking  or  peeling. 

If  you  wish  to  enjoy  the  same  niceness  cf  groom- 
ing that  Mary  Nash  and  many  famous  beauties  find 
so  delightful,  you  can  buy  Cutex  Liquid  Polish  as 
well  as  any  of  the  other  Cutex  preparations  at  any 
department  or  drug  store  in  the  United  States  and 
Canada  and  chemist  shops  in  England.  You  can 
get  it  separately  at  35c  or  in  the  $1.00  and  $3.00  sets. 
Sets  with  other  polishes  are  60c  and  $1.50. 
*  *  * 

Special  Introductory  Set  including 
this  new  polish — now  12c 

You  may  have  a  special  introductory  set  that  includes 
trial  sizes  of  Cutex  Cuticle  Remover,  the  new  Liquid  Polish, 
Powder  Polish,  Cuticle  Cream  (Comfort),  emery  board 
and  orange  stick  by  simply  filling  out  this  coupon  and 
sending  12c  in  coin  or  stamps.  Address  Northam  Warren, 
114  West  17th  Street,  New  York,  or  if  you  live  in  Can- 
ada, Dept.  Q-i  1 ,  200  Mountain  Street,  Montreal,  Canada. 

MAIL  THIS  COUPON  WITH  12c  TODAY 


Northam  Warren,  Dept.  Q.,,, 

114  West  17th  St.,  New  York 

I  enclose   12c  in  stamps  or  coin  for  new  Introductory  Set  that 
includes  a  trial  size  of  the  new  Cutex  Liquid  Polish. 

Name . 


Street . 


(or  P.  O.  box) 


City  . 


State 


When  you  write  to  advertisers  please  mention  PHOTOPLA?  MAGAZINE. 


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STRANGERS  OF  THE  NIGHT— Metro 

IS  is  the  screen  version  of  "Captain  Applejack' 


and 
the  camera  takes  advantage  of  many  opportunities  to 
make  the  picture  even  better  than  the  play.  It  is  a  mixture 
of  farce  and  melodrama,  splendidly  directed  by  Fred  Niblo. 
The  start  is  slow,  but  that  makes  the  contrast  with  the  later 
speed  even  more  striking.  Matt  Moore,  Barbara  La  Marr 
and  Enid  Bennett  are  all  good. 


TO  THE  LAST  MAN— Paramount 

A  RED-BLOODED  "Western"  with  a  family  feud 
mixed  in  for  good  measure,  laid  in  the  Tonto  Basin  in 
Arizona,  and  with  all  the  thrill  that  Zane  Grey  can  put  into 
a  story.  As  the  title  indicates,  all  the  feudists  except  one 
are  slain  by  knife  or  bullet  and,  of  course,  the  survivor  gets 
the  girl.  Good  cast,  acting  and  photography.  If  you  like 
swift  melodrama  you  arc  sure  to  like  this  one. 


PURITAN  PASSIONS— Hodkinson 

TAKEN  from  Percy  Mackaye's  poetic  drama,  "The 
Scarecrow,"  this  fantastic  story  of  witchcraft  in  old 
Salem  comes  to  the  screen  under  the  auspices  of  The  Film 
Guild.  Just  a  trifle  too  delicate  and  fanciful,  it  still  has 
charm  and  beauty  of  expression.  Glenn  Hunter  gives  a 
wistful  interpretation  of  the  scarecrow  who  gains  a  soul 
through  love — and  Mary  Astor  is  as  lovely  as  a  flower. 


DULCY— First  National 

DULCY  was  a  girl  wife  who  wanted  to  help  her  husband 
but  was  such  a  dumbbell  that  her  efforts  in  his  behalf 
almost  ruined  him.  The  stage  version  was  delightful. 
The  picture  is  sad.  All  the  joy  of  the  characters  is  com- 
pletely anesthetized,  and,  in  the  place  of  the  lovable  dumb- 
bell with  her  merry  platitudes,  we  are  given  a  grown-up 
moron.     Connie  Talmadge  works  valiantly  to  save  it. 


DRIFTING— Universal 

THERE'S  little  of  the  fire  and  magnetism  that  character- 
ized the  old  Priscilla  Dean  in  the  majestic  woman  who 
stalks  through  this  picture.  Never  is  she  the  Cassie  Cook, 
the  vivid  demi-mondainc,  of  the  play.  But  there  is  excite- 
ment and  interest  in  the  conflict  between  sellers  of  opium 
and  government  agents,  and  the  sets  of  the  interior  of  China 
are  charming.     Splendid  entertainment. 


THE  GOLD  DIGGERS— Warner  Brothers 

THE  screen  version  of  this  Hopwood  comedy  is  the  most 
sophisticated  photoplay  of  the  month.  And  Harry 
Beaumont,  the  director,  has  made  an  interesting  and  amus- 
ing picture.  Hope  Hampton  is  featured.  In  one  scene  when 
she  feigns  intoxication,  she  does  capital  work.  But  it  is 
hard  to  see  why  she  is  featured  above  Wyndham  Standing 
and  Louise  Fazenda.  [  continued  on  page  ioo  ] 


78 


Photoplay  Magazine — Advertising  Section 


CJheir  skin  kept  young- -fresh -supple  •  • 
•  •  •  season  in  and  season  out 


What  is  the 
Society  Woman's  secret? 

"A  WOMAN'S  complexion 
*■  *■  can  be  very  nearly  per- 
fect. It  should  be  smooth, 
supple  and  transparently 
fresh  and  it  should  not  be- 
tray fatigue  or  the  effects  of 
weather." 

This,  if  it  were  written,  would 
be  the  society  woman's  code. 

As  proof  of  it,   there   is 
scarcely  a  woman  of  prominent  social  position  whose 
age  you  can  guess  by  any  dullness  of  skin  or  lines. 

That  does  not  mean  she  does  not  motor  or  take  part 
in  whatever  sports  are  in  season.  She  can  be  a  zealous 
sportswoman  by  day  and  appear  in  the  evening  with 
delicate  skin  unmarred.  Season  in  and  out  her  skin 
is  kept  delicately  fresh.  It  is  beautiful  with  the  supple- 
ness of  youth. 

Of  course  it  requires  daily  care  to  keep  their  skin  in 
this  perfect  condition.  And  perhaps  this  is  the  only 
"secret"  of  the  lovely  complexions  that  most  society 
women  are  known  to  possess.  Their  skin  is  never  allowed 
for  a  moment  to  deteriorate  from  neglect. 

There  are  two  fundamental  needs  of  the  skin  that  the 
society  woman  knows  cannot  be  neglected  without  disaster 
— regular  cleansing  in  the  particular  way  that  cannot  pos- 
sibly tighten  or  coarsen  the  skin  and  careful  protection 
and  freshening  for  all  daytime  and  evening  appearances. 


EVERY  SKIN  NEEDS  THESE  TWO  CREAMS 

Pond's  Cold  Cream  for  cleansing,  Pond's  Vanish- 
ing Cream  to  protect  and  to  bold  the  po-wder 


If  she  is  perhaps  growing  older  she  does  not  show  it  by  a  dulled 
skin  or  premature  lines.    If  she  is  tired  her  face  does  not  betray 
her.    However  much  she  is  out  of  doors  her  skin  is  not  rough- 
ened or  reddened.    What  is  her  secret? 


These  two  essentials  are  the 
basis  of  the  famous  Pond's 
Method  of  two  entirely  differ- 
ent creams  through  which  so 
many  lovely  women  keep  their 
skin  in  just  the  fresh,  beauti- 
fully supple  condition  that 
social  usage  requires. 

Pond's  Cold  Cream  not 
only  cleanses  exquisitely  but 
restores  the  skin's  natural 
suppleness.  Pond's  Vanishing 
Cream  not  only  never  fails  in 
protection  but  gives  each  time  the  instant  beauty  of 
smooth  fresh  skin  under  the  rouge  and  powder. 

Try  this  famous  method — yourself 

Do  this  tonight.  With  the  finger  tips  apply  Pond's  Cold 
Cream  freely.  The  very  fine  oil  in  it  softens  your  skin  and 
penetrates  every  pore.  Let  it  stay  on  a  minute — now  wipe  it 
off  with  a  soft  cloth.  The  black  that  comes  off  shows  you 
how  carefully  this  cream  cleanses.  Do  this  twice.  Your  skin 
looks  fresh  and  is  beautifully  supple. 

Then  in  the  morning,  smooth  on  Pond's  Vanishing  Cream  over 
your  whole  face.  Now  if  you  wish,  rouge — powder.  How 
smooth  and  velvety  your  face  feels  to  your  hand.  What  a  fresh 
and  charming  complexion  smiles  back  from  the  mirror.  The 
powder  is  even  and  smooth  over  this  flawless  base. 

Begin  today  to  use  Pond's  Two  Creams  regularly  to 
give  your  skin  that  well  cared  for  look  that  distinguishes 
the  women  who  must  be  beautiful  in  spite  of  their  active 
social  life.  Buy  both  creams  in  any  drug  or  department 
store.  The  Pond's  Extract  Company. 


c 


Generous  Tubes  —  Mail  Coupon  with  10c  today 
The  Pond's  Extract  Co.,  137  Hudson  St.,  New  York — 
Ten  cents  (roc)  is  enclosed  for  introductory  tubes  of 
Pond's  two  creams — enough  for  two  weeks'  use. 

Name 

Street  

City  . . .  State     


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


May  Allison  has  grown   up.     It  is  a  long  distance  from 

"  The  Sign"  back  to  her  ingenue  days  with  Harold  Lockwood. 

She  comes  back,  after  a  prolonged  and  leisurely  tour  around 

the  world,  a  mature  and  sophisticated  woman 


The  Girl 


on 


the  Cover 


^y  Mary  Winship 


MAY  ALLISON  is  back  from  her  leisurely  lour 
around  the  world,  quite  grown  up  and  beautifully 
gowned. 

But  underneath,  just  the  same  old    May    that 
everybody  in  Hollywood  has  always  liked  and  admired. 

From  the  time  she  first  came  to  pictures — she  had  been  a 
year  or  two  on  the  New  York  stage  and  had  scored  a  hit  as 
Beauty  in  "Everywoman" — she  made  a  place  all  her  own 
with  the  fans. 

Everybody  enjoyed  looking  at  the  lovely  pictures  of  curls 
and  dimples  and  flashing  teeth  that  she  made  on  the  screen. 
She  and  Harold  Lockwood  were  one  of  the  most  popular  of 
co-starring  teams,  but  then  something  happened  to  May 
Allison.  Like  a  lot  of  people  before  her,  she  was  too  good- 
natured  and  too  intelligent  and  too  accommodating  for  her 
own  good. 

Her  pictures  were  going  extremely  well.  She  had — as  I 
remember  finding  out  to  my  own  surprise — the  fourth  or 
fifth  largest  fan  mail  in  Hollywood. 

But  Metro  was  very  busy.  They  had  a  lot  of  problems 
on  their  hands.  And  the  one  person  they  could  always  count, 
on  and  always  depend  on  was  good-natured  little  May  Allison. 
She'd  never  get  them  into  any  messes.  She  was  extremely 
wise  in  camera  lore.  She  knew  almost  as  much  about  mak- 
ing pictures  as  the  directors. 

So,  when  they  wanted  to  try  to  make  a  director  out  of  a 
well-known  playwright,  they  said,  "Well,  let  May  have  him. 
She'll  see  him  through.  At  least,  he  won't  make  a  bad 
picture  with  her." 

She  broke  in  one  new  director  after  another,  which  is  all  very 
well  as  a  recommendation  of  a  lady's  disposition,  but  ex- 
tremely bad  for  her  reputation  as  a  star  and  as  actress. 

So,  when  May's  contract  was  up,,  and  her  long-kept  secret 
marriage  to  Robert  Ellis  revealed,  she  said:  "I'm  through 
with  pictures  for  a  while.  I'm  going  vacationing  until  I 
wipe  out  the  memory  of  all  these  funny  things  that  have  been 
done.  I  don't  want  to  be  a  baby  ingenue  any  more.  I'm 
too  old.  I  think  I  can  act,  whether  anybody  agrees  with 
me  or  not.     When  I  come  back,  I'm  going  to  be  different." 

She  and  her  husband  and  Bob  Vignola  took  a  long  and 
leisurely  tour  around  the  world. 


SO 


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81 


UNITED  FAST  COLOR  EYELET  COMPANY 

Manufacturers  of 

DIAMOND  BRAND   (VISIBLE)   FAST  COLOR  EYELETS 


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The  world'*  hading  moving  pictun  magazim — business  of  bowing,  modestly — as  it  appears  upon  the  stage  in  New  York's  smartest  and 
most  popular  revue,  "Artists  atid  Models."    We're  not  sailing  anything,  but  do  you  notice  which  magazine  cover  is  first  in  line'! 


JANE  COWL'S  presentation  in  Los  Angeles  of 
"  Romeo  and  Juliet " — one  of  the  finest  things 
ever  seen  on  the  American  stage — woke  a 
storm  of  enthusiasm  among  motion  picture 
artists. 

The  opening  night  saw  a  really  amazing 
gathering  in  the  big  auditorium.  Douglas 
Fairbanks  and  Mary  Pickford  were  there. 
Norma  Talmadge,  and  Joe  Schenck,  Constance 
Talmadge — in  a  green  frock  with  a  little  tight 
silver  turban,  accompanied  by  Mr.  and  Mrs. 
Earle  Williams.  Mabel  Xormand.  with  Paul 
Bern,  and  wearing  the  most  exquisite  summer 
evening  frock  of  organdy  lace  and  embroidery 
over  coral  taffeta,  Mr.*  and  Mrs.  Charles 
Brabin  (Theda  Baral  in  an  exquisitely  draped 
gown  of  yellow  satin,  in  a  box  with  Mrs.  Leslie 
Carter.  Pola  Negri,  in  black  with  some  artistic 
and  fascinating  dashes  of  Oriental  color, 
Charles  Chaplin,  William  S.  Hart,  Ethel  Clay- 
ton, May  Allison,  Leatrice  Joy,  in  apricot  taf- 
feta, Mr.  and  Mrs.  Thomas  Meighan,  Mr.  and 
Mrs.  Douglas  MacLean,  Mr.  and  Mrs.  Charles 
Ray,  Mr.  and  Mrs.  William  de  Mille,  and  Mr. 
and  Mrs.  Fred  Niblo  (Enid  Bennett). 

J  AXE  MURFIX.for  many  years  Jane  Cowl's 
most  intimate  friend  and  co-author  with  her 
of  several  of  her  biggest  stage  successes,  includ- 
ing "Lilac  Time"  and  "Smilin'  Through,"  had 
a  xbox  party  and  entertained  later  with  a 
supper. 

The  immediate  result  of  Miss  Cowl's  visit 
seems  to  be  an  immediate  desire  on  the  part  of 
screen  actresses  to  play  Juliet.  And  it  looks 
now  as  though  we  might  have  the  great  delight 
and  artistic  advancement  of  seeing  at  least 
two  of  our  greatest  screen  actresses  playing  the 
role  at  the  same  time. 

It  is  definitely  announced  that  Xorma  Tal- 
madge is  to  produce  it  in  the  fall,  with  Joseph 
Schildkraut  as  Romeo.  And  the  whole  picture 
industry  sat  down  the  morning  after  they  had 
seen  Miss  Cowl  and  wrote  enthusiastic  letters 
begging  Doug  and  Mary  to  do  it  together.  It 
would  be  a  fascinating  and  splendid  thing  if  it 
happened. 

The  London  season  which  once  saw  Bern- 
hardt and  Duse  in  different  theaters  following 
each  other  in  the  same  roles  will  never  be  for- 
gotten by  those  who  saw  it.  Xorma  will  have 
the  advantage  of  type,  if  she  does  it.  And  of 
a  greater  experience  in  that  kind  of  dramatic 
acting.  But  Mary  will  have  the  advantage  of 
a  tradition  which  clings  about  her  as  the  ideal 
sweetheart,  the  ideal  loved  one.  And  of  an  ex- 
quisite ability  to  display  the  true  reactions  of 
youth.  Juliet  was  but  fifteen,  you  will  re- 
member. 

1  Also,  there  will  be  something  marvellously 
dramatic  and  appealing  about  seeing  Douglas 
Fairbanks  and  Mary  Pickford  as  Romeo  and 
Juliet,  which  Miss  Talmadge  will  have  to  face. 
It  should  give  them  both  the  opportunity  and 
the  spur  of  their  entire  career*. 

82 


GoSSip- 
East  6?  West 


By  Cal  York 


A  YOUNG  and  handsome  Indian  chief 
-*  *•  threatened  to  become  Charlie  Chaplin's 
successor  by  kidnapping  Pola  Negri  during  her 
recent  visit  to  the  Grand  Canyon.  The  young 
chieftain  paid  his  respects  to  Pola  upon  her 
arrival  and  she  received  him  with  such  gra- 
ciousness  that  he  proceeded  to  pay  court. 
When  the  hotel  management  sent  Pola  an 
ornate  birthday  cake,  she  cut  it  in  two  and 
sent  a  portion  adorned  with  white  angels  to  the 
youth.  She  couldn't  remember  the  pronuncia- 
tion of  his  name,  but  Kathlyn  Williams,  who 
was  with  her,  had  the  impression  that  it  was 
Chief  Cock-Eye.  It  wasn't,  and  the  chief  was 
justly  indignant.  Nevertheless,  his  attentions 
were  so  plainly  those  of  a  Hiawatha  seeking  a 
squaw  that  it  was  deemed  advisable  for  the 
Polish  enchantress  to  take  flight  back  to  Holly- 
wood before  the  tomahawks  flew. 

PICTURE  Pola  Negri  as  an  Apache.  That's 
-*-  her  role  in  her  next  picture  from  the  French 
play,  "Mon  Homme."  Charles  De  Roche  will 
be  the  Apache  lover. 

"I  am  going  to  give  the  real  Apache,"  says 
Pola,  "not  the  theater  kind  with  velvet  pants 
— not  the  Apache  that  tourists  see  at  Mont- 
martre — but  the  real  Apache  that  I  myself 
have  known  in  Warsaw  and  in  Paris. 

"Ah,  very  interessant,"  nods  Pola  with  a 
smile,  and  we  believe  her. 

After  "Mon  Homme,"  she  will  do  ''Madame 
Sans  Gene."  Then  she  insists  upon  New  York 
as  the  scene  of  her  film  activity.  "Give  me 
opera  or  give  me  death,"  is  Pola's  dictum. 

Next  year  she  will  return  to  visit  her  mother 
at  her  estates  in  Bomberg,  Poland.  Her 
mother  has  been  ill,  and  she  plans  to  take  her 
to  the  home  she  is  purchasing  at  Beaulieu  on 
the  French  Riviera. 

"P  LINOK  GLYN  was  so  dreadfully  upset  over 
-'—'the  choice  of  Conrad  Nagel  to  play  her  be- 
loved Paul  of  "Three  Weeks,"  she  is  said  to 
have  offered  $40,000  to  the  Goldwyn  company 
for  the  privilege  of  casting  the  part  herself  in 
favor  of  one  Derek  Glyn.  Derek  is  no  rela- 
tion to  Madame,  but  he's  H'English,  and  he 


had  gone  to  all  the  trouble  of  blonding  his  hair 
on  the  strength  of  Elinor's  favor.  Whenever 
Madame  Glyn  beholds  Conrad  in  the  Goldwyn 
cafeteria  she  has  paroxysms  of  hysterical  an- 
guish over  the  desecration  of  Paul.  While  I 
also  wonder  why  Conrad  is  being  cast  eternally 
for  passional  youths,  I  cannot  say  that  the 
golden-haired  boy  selected  by  Madame  looks 
particularly  torrid.  It  seems  that  Paul  must 
be  blond,  and  Conrad  being  the  only  blond  on 
the  payroll,  he  got  the  part.  Poor  Elinor  Poor 
Derek,  Poor  Conrad — Poor,  Poor  Paul! 

JUST  as  the  Hollywood  producers  ruled  that 
no  one  could  visit  the  studios — not  even  ex- 
hibitors, Doug  Fairbanks  ruled  that  everyone 
was  welcome  at  his  studio — even  exhibitors. 
Doug  is  a  shrewd  showman.  He  has  magnifi- 
cent sets  for  "The  Thief  of  Bagdad,"  and  he 
figures  that  the  tourists  who  see  them  will  go 
back  to  their  home  towns  and  spread  profitable 
propaganda  for  the  "Thief."  Visitors  are  not 
allowed,  however,  to  watch  Doug  or  Mary  at 
work. 

"I  don't  like  to  have  even  mother  watch  me 
during  a  crying  scene,"  Mary  remarked  to  me. 
"It  embarrasses  me  to  have  people  see  me 
cry — it  seems  such  a  foolish  way  to  earn  a 
living." 

MARY  MILES  MINTER,  former  picture 
star,  and  her  mother,  Mrs.  Charlotte 
Shelby,  have  occupied  more  space  in  the  news- 
papers during  the  last  month  than  any  other 
star  ever  received  except  Fatty  Arbuckle. 
Since  Mary  came  of  age  a  few  months  ago, 
there  have  been  frequent  rumors  of  a  break, 
a  suit,  as  various  veiled  compliments  have  been 
exchanged. 

Now  the  veil  has  been  torn  away  to  a  degree 
almost  of  indecency.  One  feels  rather  em- 
barrassed and  pained  by  the  degree  of  frank- 
ness with  which  this  mother  and  daughter 
have  discussed  their  most  private  and  per- 
sonal and  sacred  family  affairs,  problems  and 
secrets  in  public  print. 

Mary  Miles  Minter,  so  she  says,  is  going  to 
sue  her  mother  for  $1,300,000 — or  an  account- 
ing thereof.  She  said  this  at  a  time  when  her 
mother  was  in  a  hospital,  recovering  from  an 
operation.  Mrs.  Shelby  says  in  return  that 
Mary  has  spent  $100,000  in  a  few  months  and 
that,  if  she  gets  her  own  fortune,  she  will  be 
the  victim  of  unscrupulous  people  who  will 
reduce  her  to  poverty  in  no  time. 

There  has  been  much  denial,  accusation, 
weeping  and  recrimination  on  both  sides. 
The  truth  of  the  matter  of  course  is  that 
through  her  extreme  business  sagacity,  Mrs. 
Shelby  secured  for  Mary  Miles  Minter  a  con- 
tract with  Paramount  some  ten  times  in  excess 
of  what  her  services  were  worth.  Having 
secured  such  a  contract,  by  her  further  busi- 
ness ability,  she  invested  and  turned  over 
Mary's   earnings   in   such  a   way   that   they 


Photoplay  Magazine — Advertising  Section 

g 


83 


Honeymooning 
in  the  Jllps 

r'HEY  stepped  out  on  the  little 
balcony  for  their  first  look  a. 
the  Alps  in  the  moonlight. 

"  They  are  wonderful"  she  sighed. 

"Not  so  wonderful  as  you — " 

" — and  so  beautiful,"  she  added, 
leaning  against  his  shoulder. 

"Not  so  beautiful  as  you,"  he 
added  fervently.  "You  are  always 
so  complete,  dear.  Entirely  aside 
from  your  pretty  clothes — you  al- 
ways have  such  a  flower-like  skin, 
and  there  is  a  faint  perfume  about 
you  too,  like  a  flower — " 

She  glanced  up  shyly.  "I  like 
our  honeymoon,"  she  said  quaintly. 

For  "Instant  Beauty" 

JivERY  well-dressed  woman  today  realizes 
that  she  must  pay  as  much  attention  to  the 
appearance  of  her  skin  as  she  does  to  her 
costume.  These  are  women  who  appreciate 
thePompeian  Instant  Beauty  Quartet.  The 
Quartet  consists  of  Day  Cream,  Beauty 
Powder,  Bloom  (a  rouge),  and  Lip  Stick. 

Apply  according  to  the  following  order: 

Distribute  the  Day  Cream  over  the  skin, 
covering  every  exposed  surface.  It  vanishes 
as  soon  as  used,  leaving  a  delicate  coating 
as  a  foundation  for  powder  and  a  protection 
against  the  weather. 

Apply  the  Beauty  Powder  next,  distri- 
buting over  face  and  neck  with  equal  thick- 
ness. This  powder  is  exceptionally  soft  and 
delicate,  and  adheres  with  remarkable 
tenacity. 

Next  select  the  right  shade  of  the  Bloom 
and  blend  on  the  cheeks  in  the  normal 
places.  The  Orange  tint  gives  a  more 
natural  tone  when  blended  with  the 
Nat  tire  lie  or  Rachel  shades  of  Beauty 
Powder. 

The  Lip  Stick  gives  the  slightly  height- 
ened tone  to  the  mouth  that  is  called  for  by 
accentuating  the  color  in  the  cheeks  with 
rouge.  It  is  of  a  natural  tone  and  of  a  con- 
sistency neither  too  hard  nor  "salve-like." 
Chisel-pointed  end  for  easy,  accurate  ap- 
plication. Dainty  telescoping  gilt  container. 


"Dotit  Envy  Beauty — Use  Pompeian" 

Pompeian  Day  Cream  (vanishing  60c  per  jar 

Pompeian  Beauty  Powder  60c per  box 

Pompeian  Bloom  (the  rouge)  60c  per  box 

Pompeian  Lip  Stick  25c  each 

Pompeian  Fragrance  (a  talc)  25c  a  can 

Pompeian  Night  Cream  (Cold  Cream)  60c  per  jar 

GET  THIS  NEW  1924 
POMPEIAN  ART  PANEL 
"Honeymooning  in  the  Alps" 

and  four  Pompeian  samples  ; 
sent  for  ten  cents 

This  newest  and  most  artistic  of  the 
Pompeian  art  panels  is  now  offered 
for  the  first  time  to  the  readers  of 
this  magazine.  The  picture,  done  in 
pastel  hy  a  famous  artist,  has  been 
faithfully  reproduced  in  the  rich 
colors  that  impart  to  the  original  the 
very  atmosphere  of  an  Alpine  night. 

At  the  right  appears  a  small 
illustration,  giving  the  form  of  the 
complete  panel.  Actual  size  is  28  x 
7  l/i  inches.  For  10  cents  we  will  send 
y>u  all  of  these! 

1.  The  1924  "  Honeymooning  in  the 
Alps"  Beauty  Panel  as  described 
above.  (Would  cost  from  50c  to 
75c  in  an  art  store.) 

2.  Sample  of  Pompeian  Day  Cream 
(vanishing). 

3.  Sample  of  Pompeian  Beauty 
Powder. 

4.  Sample  of  Pompeian  Bloom  (non- 
breaking rouge). 

5.  Sam  pie  of  Pompeian  Night  Cream. 

Please  t  at  oj]  coupon  note: 


Pompeian   Laboratori  es,  2131   Pa  yn  f.  A  ven  ue,  C  le  veland,  Ohk 

Also  Made  in  Canada 


'boil  Groom  fyeajutyroiDder  -olnom 


A  Powder  and  Rouge 

Chart  for  Various 

Types  of  Women 

By  Mme.  Jeannette 

I  have  been  asked  many  times  about  when 
to  use  certain  tones  of  powder  and  rouge 
together.  Though  there  are  always  excep- 
tions the  following  rules  are  safe  to  observe: 

The  "pink"  blonde,  certain  "bronze- 
haired  "women,  and  the  brown-haired,  blue- 
eyed  women  with  pink  flesh  tones  can  wear 
to  advantage  Fiesh  or  Naturelle  Powder  at 
night  —  in  most  cases  use  Naturelle.  The 
Medium  shade  of  Pompeian  Bloom  is  used. 

The  ideal  Spanish  type  has  the  creamy 
skin  that  has  been  likened  to  "magnolia 
blossoms." 

Naturelle  or  a  mixture  of  Naturelle 
and  Rachel  powders  gains  the  desired  effect 
with  this  skin. 

Gray  eyesjiazel  eyes, green  eyes,  or  blue 
eyes  accompany  a  light  olive  skin.  It  is  a 
skin  that  may  be  very  "neutral"  looking, 
or  may  have  the  greatest  vivacity  of  all. 

In  the  daytime  this  type  should  use  the 
Naturelle  shade  of  Pompeian  Beauty  Pow- 
der. Some  of  these  women  can  use  the 
Rachel  shade;  all  of  them  require  Rouge. 
The  new  Orange  tint  is  the  most  effective 
for  such  women. 

The  woman  is  fortunate  who  with  the 
dark  olive  tone  of  her  skin  has  a  very 
clear  skin.  Rachel  Powder  was  especially 
made  for  her. 

She  may  have  a  lot  of  "gold"  color  in 
her  skin.  If  she  has  she  will  find  that  Pom- 
peian Orange  Bloom  brings  out  the  warmth 
and  glow  that  no  other  tone  will  do.  But  if 
she  has  rather  the  more  definitely  "olive" 
tone  she  should  use  the  Dark  shade  of 
Pomoeian  Bloom. 

Certain  auburn  or  red-haired  women, 
some  ash  blondes,  and  raven-black-haired 
women  generally  have  the  white  skin  that 
is  almost  opaque  in  its  whiteness. 

Such  skins  look  well  with  the  White  shade 
of  Pompeian  Beauty  Powder.  It  should 
be  used  with  delicacy  in  the  daytime,  but 
as  lavishly  as  desired  for  evening. 

The  blonde  and  red-haired  women  should 
use  with  this  powder  the  Light  shade  of 
Pompeian  Bloom,  placing  it  as  nearly  as 
possible  in  the  manner  of  natural  coloring. 


i 


.jltCUu^etiZ 


Specialise  en  Beaute 


O  1923,  The  Pompeian  Go. 


TEAR    OFF,    SIGN,    AND    SEND 


POMPEIAN  LABORATORIES, 

2131  Payne  Avenue,  Cleveland,  Ohio 

Gentlemen:  I  enclose  10c  (a  dime  preferred)  for 
1924  Pompeian  Art  Panel,  "Honeymooning  in 
the  Alps,"  and  the  four  samples  namul  i:i  offer. 


Address- 


City- 


State- 


Whot  shade  lute  powde 


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Hollywood's  bent  upon  marrying  off  one  of  its  most  popular  children — Lois 

Wilson.     First  the  lady's  engagement  to  J.  Warren  Kerrigan  was  announced. 

And  now  rumor  says  that  Richard  Dix  is  the  lucky  fellow.    In  a  scene,  together, 

from  "  To  the  Last  Man" 


rapidly  grew  and  multiplied.  If  Miss  Minter 
is  worth  millions,  it  is  not  due  in  any  way  to 
herself,  but  solely  to  her  mother's  shrewdness 
and  handling. 

On  the  other  hand,  Miss  Minter  has  proba- 
bly been  kept  in  a  state  almost  bordering  upon 
slavery  during  her  minority.  It  isn't  strange 
that  she  now  wants  a  change. 

On  top  of  all  this,  Mary  Miles  Minter  breaks 
forth  and  declares,  without  rhyme  or  reason, 
that — so  far  as  she  was  concerned — she  was 
engaged  to  William  Desmond  Taylor  at  the 
time  he  was  murdered,  that  she  would  have 
announced  it  publicly  long  before  and  that 
she  believes  her  mother  wanted  to  take  him 
away  from  her. 

Then,  a  long  hidden  and  unknown  father 
pops  up  somewhere  and  declares  that  Mary  is 
30  years  old  instead  of  21 — which  would  have 
made  her  about  15  when  she  played  "The 
Littlest  Rebel." 

Altogether  it's  a  sweet  little  family  row  and 
the  worst  of  it  is  that  the  motion  picture 
industry  will  probably  be  blamed  for  some- 
thing that  is  in  no  way  its  fault. 

Mary  Miles  Minter  is  undoubtedly  21  years 
old.  The  Supreme  Court  of  the  United  States, 
after  competent  investigation,  declared  her  so. 
And  the  general  assumption  seems  to  be  that 

84 


was  Norma  Talmadge,  Eileen  Percy,  Viola 
Dana,  and  Teddy  Sampson.  Everybody  had 
been  raving  about  bobbed  locks,  how  becom- 
ing they  were  and  how  sensible.  When  Bessie 
Eyton  came  along.  Remember  Bessie?  She 
was  the  original  heroine  of  the  original  "The 
Spoilers"  with  William  Farnum  and  Tom 
Santchi  and  Wheeler  Oakman  and  she  is  now- 
leading  lady  of  the  Morosco  stock  company 
in  Los  Angeles. 

She  had  on  a  black  bathing  suit  and  over  it 
a  gorgeous  mantle  of  glowing,  bronze-red, 
waving  hair,  that  fell  in  great  curls  almost  to 
her  knees.  It  rippled  and  shone  in  the  sun- 
shine and  every  man  on  the  beach  turned  in 
frank  admiration  to  watch  it. 

"I  could  just  murder  her,"  said  Teddy 
Sampson  frankly.  "Doesn't  it  make  you  sick 
to  see  long  lovely  hair  like  that?" 

And  the  bobbed  chorus  admitted  that  it  did. 

"Anyway,"  said  Norma,  "I'm  letting  mine 
grow." 

"  So  am  I,"  said  the  chorus. 

CHARLIE  CHAPLIN  has  two  of  the  best 
^^press  agents  in  the  business  plugging  for 
his  "A  Woman  of  Paris."  They  are  Mary 
Pickford  and  Douglas  Fairbanks. 

Mary  goes  busily  about  proclaiming  Charlie 
the  genius  of  the  industry,  the  pioneer  and  the 
one  who  can  never  be  excelled,  while  Doug  is 
furiously  engaged  in  writing  letters  to  all  his 
newspaper  friends,  beseeching  them  in  the 
name  of  art  to  boost  Charlie's  picture  to  the 
limit.  Isn't  the  jealousy  among  stars  a 
terrible  thing? 

COMETHING  that  has  never  happened  in 
^Los  Angeles  before  in  the  history  of  the 
motion  picture  [  continued  on  page  00  ] 


if  anybody  was  engaged  to  William  D.  Taylor 
when  he  died  it  wasn't  Mary. 

As  for  the  money,  the  courts  will  have  to 
settle  it  beyond  a  doubt,  which  is  very  un- 
fortunate in  every  way. 

BOBBED  hair  is  all  very  well  but — when  a 
lady  with  really  gorgeous,  full  length  locks 
comes  along,  watch  the  conveniently  short 
ones  turn  green  with  envy  and  the  men  stare 
in  complete  admiration. 

A  group  of  delightfully  bobbed  movie  stars 
were  sitting  on  the  sands  in  front  of  the  Santa 
Monica  Swimming  Club  the  other  day.    There 


A  well-gowned  woman  may  always  be 
judged  by  the  details  of  her  costume.  Her 
gloves,  her  veils,  her  stockings  and  her 
shoes.  Especially  her  shoes!  Andree 
Lafayette,  famous  for  her  perfectly  pro- 
portioned feet,  which  won  for  her  the  title 
part  in  Richard  Walton  Tully's  produc- 
tion of  "Trilby,"  is  particularly  careful 
in  her  choice  of  footwear.  Her  slippers, 
her  sandals,  her  oxfords — all  are  selected 
with  exquisite  taste  and  discrimination 


Photoplay  Magazine — Advertising  Section 


»S 


me  ^Jtdnlessence 


arm 


OF  course  you  Avear  dainty,  exquisite 
underthings — cverAr  smart  woman 
does.  Just  to  open  a  drawer  and  find 
piles  of  the  softest,  silken,  feminine  garments 
gives  you  a  thrill  of  delight. 

You  smile  now  at  the  time  you  thought 
silk  underwear  was  a  luxury,  something  be- 
yond your  dreams.  Then  came  Vanity  Fair, 
— the  silk  underwear  that  represents  real 
economy.  Its  dainty  beauty  captivates  3Tou 
and  you  will  have  it  "forever"  and  still  de- 
rive from  it  the  greatest  of  pleasure. 

The  Plus  Four  Knickers  are  made  two 
inches  longer  and  two  inches  wider  than 
knickers  have  ever  before  been  cut.  Notice 
in  the  illustration  the  extra  fullness  that 
assures  the  utmost  in  comfort  and  satisfac- 
tory wear.  Another  Vanity  Fair  feature 
is  the  splendid  reinforcement  where  the 
hardest  wear  comes. 

The  Plus  Four  Vest  is  cut  full  and  roomy 
across  the  bust,  through  the  hips  and  wher- 
ever there  is  the  slightest  bit  of  strain  The 
extra  four  inches  prevent  the  uncomfortable 
"riding-up"  so  often  found  in  vests  of  reg- 
ular length. 

JD o  you  know    V  a nitisilk  f 

Besides  three  different  weights  of  regular 
glove  silk,  these  charming  undergarments 
may  be  had  in  Vanity  Fair's  own  new  weave, 
"Vanitisilk,"the  most  desirable  fabric  ever- 
constructed  for  underwear.  Ask  for  it  by 
name.  You  can't  wash  its  length  away. 
Its  original  charm  will  remain  after  months 
and  months  of  service. 

Vanity  Fair  is  to  be  found  at  smart  shops 
everywhere  andyou'll  find  that  theyare 
most  conservatively  priced.  We  will  be 
glad  to  tell  3rou  the  name  of  the  nearest  dis- 
tributor if  you  will  send  a  postcard  to  the 
Vanity  Fair  Silk  Mills,  Reading,  Pa. 


umiif 


uur 


* 


SMbllC      MNDERTOEAiFL 

AND  HOSflETR^ 


^y^^^^A 


•^ 


.CVCJV0- 


c^i 


When  you  mite  to  advertisers  please  mention  PHOTOPLAY  mat,  \zi\'E. 


Twentieth  Century  Meets  the  Fifteenth 


THE  fifteenth  and  twentieth  centuries  were  merged  in  most 
realistic  fashion  during  the  filming  of  Marion  Davies'  new 
picture,  "Yolanda,"  when  the  new  giant  dirigible  ZR1  soared 
above  the  Cosmopolitan  Studios  recently  during  the  filming 
of  a  scene  for  the  picture.     The  principals  and  1,200  extras 

86 


were  making  a  scene  in  the  shadow  of  the  mammoth  castle 
that  has  been  constructed  behind  the  studios,  when  the  drone 
of  the  air  monster  was  heard.  This  remarkable  photograph 
was  made  as  the  ZR1  circled  over  the  set  and  brings  into  strik- 
ing contrast  the  old  civilization  and  the  new. 


■Ml 


lS(ature  s  Qreen 

Palmolive  takes  its  color  from  the 
palm  and  olive  oil  blend  which  is 
responsible  for  its  mildness.  It  is 
as  much  nature's  own  color  as  the 
green  of  grass  and  leaves. 

Remember  this  when  you  are 
enjoying  its  wonderful  cleans- 
ing qualities  and  marveling  at 
its  mildness.  Palmolive  is  a  mod- 
ern, scientific  blend  of  the  most 
perfect  soap  ingredients  that  the 
world  has  been  able  to  discover 
in  3,000  years. 

Palm  and  olive  oils 
— nothing  else — give 
nature's  green  color 
to  Palmolive  Soap. 


\ 


Reflecting  Beauty  Secrets 

of  the  Past 


PC  I 


Women  of  ancient  Egypt  knew  that  cleanli- 
ness was  the  first  aid  to  beauty.  But  they 
knew,  too,  that  cleansing  methods  must  be 
mild,  gentle. 

Famous  Egyptian  beauties  solved  the  problem 
by  using  palm  and  olive  oils.  The  same  rare, 
natural  oils  are  blended  in  Palmolive  Soap 
today. 

How  it  acts 
This  gentle,  thorough  cleanser  never  leaves 
skin  dry  and  rough. 

The  smooth,  creamy  lather  actually  soothes 
as  it  cleanses.  Yet  it  removes  every  trace  of 
dirt,  perspiration,  and  surplus  oil  accumu- 
lated in  the  tiny  pore  openings. 

Your  skin  is  kept  free  of  imperfections  which 
result  from  pore-clogging.  It  remains  fresh, 
soft,  radiantly  clear. 

How  to  use  it 

Never  sleep  without  cleansing  the  skin.  Wash 

Note  carefully  the  name  and  wrapper. 


with  this  mildest  soap  at  bed-time  —  massag- 
ing the  creamy  lather  well  in.  Then  rinse 
very  thoroughly.  Dry  the  skin  well,  and — 
if  necessary — apply  cold  cream. 

Mornings — just  an  invigorating  rinse  in  cold 
water  to  bring  the  fine,  natural  color  to  your 
cheeks. 

Supreme  quality — low  price 
This  scientific  combination  is  within  the 
reach  of  all — at  the  price  of  ordinary  soap. 
Palmolive  Soap  is  produced  in  such  enor- 
mous quantities  that  the  price  is  brought  ex- 
tremely low.     Thus  25c  quality  costs  but  10c. 

Everyone  can  afford  this  thorough,  gentle 
cleanser — for  every  toilet  purpose,  hands, 
face,  and  the  whole  body. 

Supply  yourself  today  with  a  cake  of  Palm- 
olive Soap.  Once  you  experience  the  effects 
of  its  profuse,  creamy,  smooth  lather  no 
other  soap  will  satisfy. 
Palmolive  Soap  is  never  sold  unwrabhed. 


Volume 

and 

efficiency 

produce 

25-cent 

quality  for 


CopyrieM   IT":     IK 


ITS  OFF 

because 
ITS  OUT 

(Epilation) 


Note: — 

Madame    Berths    is     the    only 
manufacturer  of  a  superfluous  hait 

remedy  who  has  specialized  solely 
in  superfluous  hair  treatments  foi 
eighteen  years.  The  merits  of 
ZIP  were  thoroly  proven  long 
before  ZIP  was  sold  to  the  public 
in  package  form. 
ZIP  is  not  a  depilatory — it  is 
an  epilator. 


"ZIP  is   delightful,    actually  dtitroyina 
the   growth    u\th    the    root*,    aim  ply    and 
absolutely  without  irritation, 
tend  ZIP." 
IRENE  BORDOXI 


Beyond  a  Doubt— 


the  most  beautiful  woman  you  know  is  beautiful  because 
she  is  typically  feminine.  And  to  be  typically  feminine 
you  must  be  free  of  every  suggestion  of  masculinity — every 
tiny,  unwanted  hair. 

Infinitely  Better 

It  is  better — infinitely  better — to  eliminate  your  superfluous 
hair  by  gently  lifting  out  the  hairs  from  under  the  skin 
(EPILATION)  and  in  this  way  devitalize  the  roots  and 
check  the  growth,  than  to  continue  using  depilatories  which 
merely  remove  surface  hair,  leaving  the  roots  to  thrive. 

ZIP  Lifts— Does  NOT  Pull  Out 

Pulling  hair  out  is  entirely  different  than  the  action  of 
ZIP  in  lifting  the  hairs  out— hundreds  in  an  instant,  gently, 


quickly  and  painlessly.  Indeed  ZIP  has  found  favor  with 
Specialists  everywhere  and  is  also  rapidly  replacing  the 
electric  needle. 

Necessary  to  Attack  the  Roots 

To  eliminate  a  growth  of  superfluous  hair  it  is  (necessary 
to  attack  the  roots.  Epilation  (the  ZIP  process)  is  the 
one  method  by  which  the  hair  is  gently  lifted  out  of 
the  hair  follicle.  It  is  the  scientifically  correct  method  because 
it  does  not  stimulate  hair  growths,  but  devitalizes  and 
checks  them. 

ZIP  is  easily  applied  lat  home,  pleasingly  fragrant  and 
absolutely  harmless.  It  leaves  the  skin  soft  and  smooth, 
pores  contracted  and  like  magic  your  skin  becomes  adorable. 


For  Sale  Everywhere 

Ask  for  ZIP  treatment  at  your  Beauty  Shop 

GUARANTEED  on  money  back  basis 

Write  for  FREE  BOOK   "Beauty's  Greatest   Secret"    or 
call  at  my  salon  to  have  FREE   DEMONSTRATION. 


KRKE 


MME. 
BERTHE 

Sjmc  ialist 

Dept.  929 
562  Fifth  Avinut 
New  York 

st-nd   mc 
BOOK,    "Beauty 
est    Secret."    telling    how     to 
be     beautiful       and      explaining 
ZIP;      also    ■     FRKK     sample     of 
your  Massage  and  Cleansing  Cream, 
guaranteed  not  to  grow  hair. 

1  l-l ..! \A  ■  ■     PBINT  TOCR  NAME) 

Name 

Addrtmm . 

City  and  State 


Specialist 

Dept.  929 

562  Fifth  Ave. 

(Entranceon46thSt.)  tj 

NEW  YORK 


And  Remember — 

Ab-Scent.  The  ideal  liquid  colorless 
deodorant.     Destroys  odors  harmlessly.  60c 

Balm-o-Lem— a  fountain  of  youth 
for  your  skin.  Softens  and  whitens. 
Makes  face  potvder  adhere  twice  as  lony.75c 


narvclous  for  clearing 

•    skin    of    superfluous    hair 

d   destroying  the  growth.      I 

truly    grateful    to    you   for 

MA  It  IV   I3  It  MUST 


v. 


v. 


««sg 


a  woman  trie,  ZIP  the 
Will  ntvtr  use  any  other  method 
for  destroying  objectionable 
hair."        HOPE  HAMPTON 


CREATIONS 


^©^©iie^y 


NEW  YORK 


QUESTIONS    and    ANSWERS 


College  Girl,  Chicago,  III. — While  you 
write  me  a  letter  of  encouragement  with  a 
fringe  of  commiseration  and  say  you  will  ask 
no  questions.  I,  nevertheless,  write  an  answer. 
That  is  that  you  are  a  dear  dear.  Yes,  I  meant 
to  write  the  tender  word  twice.  So  your  curios- 
ity is  assuaged.  In  this  instance  I  do  reply  to  a 
letter  that  contains  no  question,  but,  at  its 
close,  a  piquant  question  mark. 

H.  E.,  Far  Rockaway,  N.  Y. — Always  glad 
to  oblige.  Marie  Doro  played  in  "The  Lash," 
Kitty  Gordon  in  "Tinsel,"  and  Edna  Goodrich 
in ' '  Queen  X."  Miss  Goodrich  has  been  touring 
in  a  new  comedy. 

An  Enthusiast,  Newark,  N.  J. — "Beauti- 
ful and  demure  Agnes  Ayres,"  as  you  charac- 
terize her,  is  about  twenty-five.  She  was  born 
in  Carbondale,  111.  Pola  Negri  is  thirty.  You 
will  have  to  wait  until  1924  to  send  Mae  Mur- 
ray a  birthday  gift.  Her  birthday  is  May 
ninth.  On  that  date  she  will  be  thirty-eight. 
Miss  Ayres'  last  picture  was  "The  Heart 
Raider." 

Miss  Ned,  Brooklyn,  N.  Y. — Shades  of 
windblown  whiskers!  Now  it's  as  Uncle  Ben 
I  am  addressed.  Because  you  think  of  me  as 
"about  thirty-eight,  dark  haired,  sporty  and 
with  a  dark  moustache."  For  these  reasons 
and  because  you  are  sweet  seventeen  you  have 
labelled  me  mentally  as  "Uncle  Ben."  You 
are  an  original  young  person  and  not  unenter- 
taining.  Miss  Ned.  Therefore  Maurice  Flynn 
should  be  grateful  to  you  for  liking  him  "best 
of  all."  I  trust  Glenn  Hunter  will  respond  with 
a  low  obeisance  while  his  fingers  fumble  about 
his  waistcoat  pockets,  for  your  rating  of  him  as 
a  "vury  vury  close  second."  Mr.  Flynn's  age 
is  Ihirty-six  and  Mr.  Hunter's  ten  years  less. 

Ardent  Fan,  New  York  City. — You  think 
the  heroine  of  "Down  to  the  Sea  in  Ships"  is 
"one  of  the  really  beautiful  women  of  the 
screen"  and  ask  her  name  and  what  she  is  do- 
ing. Marguerite  Courtot  is  at  work  on  "The 
Ste  idfast  Heart."  She  is  now  Mrs.  Raymond 
Mc  Kee,  having  married  the  hero  of  "Down  to 


YOU  do  not  have  to  be  a  subscriber  to 
Photoplay  Magazine  to  get  questions 
answered  in  this  Department.  It  is  only 
required  that  you  avoid  questions  that 
would  call  for  unduly  long  answers,  such  as 
synopses  of  plays,  or  casts  of  more  than  one 
play.  Do  not  ask  questions  touching  reli- 
gion, scenario  writing  or  studio  employment. 
Studio  addresses  will  not  be  given  in  this 
Department ,  because  a  complete  list  of  them 
is  printed  elsewhere  in  the  magazine  each 
month.  Write  on  only  one  side  of  the  paper. 
Sign  your  full  name  and  address:  only  ini- 
tials will  be  published  if  requested.  If  you 
desire  a  personal  reply. enclose  self-addressed 
stamped  envelope.  Write  to  Questions  and 
Answers,  Photoplay  Magazine,  221  W.  57th 
St.,  New  York  City.      ., 


the  Sea."  Glenn  Hunter's  age  is  twenty-six. 
Douglas  McLean  is  of  the  same  age.  He  is 
married.  Mrs.  McLean  was  Faith  Cole,  a 
New  York  society  girl. 

A  Girl  Who  Looks  Like  Nazimova  but 
Lives  in  Philadelphia. — The  ages  of  Buck 
Jones,  Gaston  Glass  and  Antonio  Moreno  are, 
in  order,  thirty-four,  twenty-eight,  and  thirty- 
live.  As  I  often  have  occasion  to  state,  Ramon 
Novarro's  address  is  Metro  Studio,  Hollywood, 
Calif. 

E.  A.,  Los  Angeles,  Calif. — Even  Tony, 
inured  to  compliments,  could  but  thrill  at  your 
characterization  of  him  as  "The  King  of  the 
Screen."  You  wrote  an  eyeful,  even  one  of 
Tony's  smouldering  coal  orbs.  Just  for  that  he 
ought  to  send  you  his  best  photograph  with  his 
nicely  written  autograph  on  it.  Take  up  the 
matter  with  him,  care  the  Famous  Players- 
Lasky  Studios,  Hollywood,  Calif.  Since  you 
were  prompted  to  crown  him  after  seeing  him  in 
the  play,  "My  American  Wife,"  you  will  not 
remove  the  crown  when  you  have  seen  him  in 
"The  Spanish  Dancer"  with  Pola  Negri. 

Marie,  Lately  of  France.— Address 
Rodolph  Valentino,  6  West  Forty-Eighth  St., 
care  of  Ritz  Carlton  Pictures,  New  York  City. 


He  has  been  spending  the  summer  season  in 
Europe.  You  write  very  well,  Mademoi- 
selle Marie,  especially  for  one  who  has  "just 
now  learned  to  write  United  States." 

Elizabeth  of  Texas. — A  charming  letter 
yours,  Miss  Elizabeth,  with  more  than  the 
usual  thoughtfulness  in  it.  I  agree  with  you 
that  the  South  is  "solid."  and  question,  with 
you,  the  rest  of  the  current  assumption  that  it 
is  slow.  What  you  decide  in  women's  clubs 
often  determines  the  fate  of  a  play.  You  want 
your  "screen  interpreters  to  be  as  sweet  and 
simple  as  they  seem"  and,  if  they  are  not,  "out 
they  go."  That  is  setting  a  standard,  Miss 
Elizabeth.  We  should  all  have  standards.  The 
higher  they  can  be,  consistent  with  tolerance, 
the  better.  Barbara  La  Marr  has  been  "pro- 
moted from  your  favorite  vamp  to  the  rank  of 
one  of  the  foremost  all  around  actresses"  and 
this  by  her  acting  in  "Poor  Men's  Wives."  It 
will  be  good  news  to  Miss  La  Marr.  Photo- 
play Magazine  bows  its  acknowledgment  of 
your  compliments  and  your  statement  that  it 
"has  brought  California  much  nearer  to 
Texas." 

A  Pennsylvania  Girl. — You  treat  me  to 
five  pages  of  well  written  panegyric  of  Rodolph 
Valentino  and  end  it  with  fine  dramatic  effect  ■ 
in  the  assertion,  "I  could  die  happy  if  I  might 
see  Rodolph  Valentino  return  to  pictures  as 
Romeo  to  Norma  Talmadge's  Juliet."  But 
I'm  afraid  he  never  will  play  in  Norma's 
picture. 

Canadian,  Hamilton,  Ontario.  —  Urn, 
marine  colored  note  paper.  Rather  like  it. 
The  name  of  Agnes  Ayres'  former  husband  is 
Captain  Frank  P.  Schueker.  As  I  have  said 
elsewhere,  Miss  Ayres  broke  her  ties  to  him 
with  the  aid  of  the  courts  two  years  ago. 
Harrison  Ford's  wife  was  Beatrice  Prenticf 
Divorced.  Helen  Jerome  Eddy  is  twenty-six 
years  old.  Mae  Murray's  age,  according  to 
available  records,  is  thirty-seven  years.  Mac 
Marsh  is  twenty-eight. 

[  CONTINUED  ON  PAGE  135  ] 

89 


9° 


Photoplay  Magazine — Advertising  Section 


Is  she  preparing 
trouble 


~JOt~ 

teeth  and  giims  ? 

QUITE  RIGHTLY,  American 
women  pay  close  attention  to 
the  nutritive  values  of  the  food  they 
serve.  "Delicious,"  says  father, 
"melts  in  the  mouth."  And  mother 
is  pleased  beyond  words. 

But  often  this  modern  food  of  ours  is 
working  a  subtle  harm.  Soft  and  creamy, 
it  does  not  give  to  the  gums  the  stimula- 
tion that  rough,  course  food  once  gave. 
Gums  today  are  less  nealthy,  and  tooth- 
troubles,  due  to  weakened  gums,  are  on 
the  rise.  The  prevalence  of  pyorrhea  is 
cne  item  in  a  long  list. 

Does  your  toothbrush 
"show  pink"? 

Thousands  of  dentists  have  written  us 
that  they  combat  soft  and  spongy  gums  by 
the  use  of  Ipana  Tooth  Paste.  For  Ipana 
Tooth  Paste  is  the  great  enemy  of  the 
"pink  toothbrush."  Because  of  its  ziratol 
content,  it  has  a  decided  tendency  to  heal 
tender  gums  and  to  keep  gums  firm  and 
healthy.  In  stubborn  cases  a  gum-massage 
with  Ipana  is  recommended,  after  the 
cleaning  with  Ipana  and  the  brush. 

Send  for  a  Trial  Tube  Today 

Ipana  stimulates  and  heals  the  gums,  but 
do  not  overlook  the  fact  that  it  cleans  the 
teeth  perfectly.  And  its  taste,  as  a  trial 
tube  will  show  you,  is  unforgetably  good. 

IPANA 

TOOTH  PASTE 

—  made  by  the  makers  of  Sal  Hepatica 

In  generous  tubes, 

Bristol-  JSBL             at  all  drug  and 

Myers  4wC5*x!^^^.    department 

Co.  ^THX^^CY^    stores— SOe. 
51  Rector  St. 
New  York. 
N.Y. 

Kindly  eend  me 
a  trial  tube  of 
IPANA   TOOTH 
PASTE    without 
charge  or  obligation  on 
my  part. 

Name.. - 

Address 

City 

Slate 


Rodolph  Valentino  and  his  wife,  Natacha  Ranibova,  in  Paris.  Mrs.  Valentino 
is  wearing  the  nun-like  costume  created  for  her  by  Point,  which,  caused  a 
S(  n  sot  ion  at  Deauville.    We  see  them  leaving  for  their  chateau  at  Juan  les  Pins 


Gossip — East  and  West 

[  CONTINUED  FROM  PAGE  84  ] 


industry  and  probably  will  not  soon  again, 
recently  occurred  there.  A  motion  picture 
director  had  three  first  run  pictures  running 
in  three  first  run  houses  at  one  and  the 
same  time.  Jimmy  Cruze  is  the  director. 
And  the  pictures  were  "The  Covered  Wagon" 
— at  Grauman's  Hollywood,  "Ruggles  of  Red 
(lap"  at  Grauman's  Metropolitan,  and 
"Hollywood"  at  Loew's  State. 

Which  brings  to  mind  a  few  remarks  that 
might  be  made  upon  James  Cruze,  director. 
Here  is  a  young  man  who  is  turning  out  great 
pictures.  He  is  ringing  the  bell  time  and 
again,  not  only  with  the  box  office  but  with 
the  critics.  Yet  he  is  the  most  businesslike, 
the  least  verbose  man  you  ever  met.  He 
never  talks  about  art.  He  doesn't  take  him- 
self seriously.  Generally,  his  pictures  can  be 
cut  in  a  few  minutes,  because  he  has  shot  so 
clo^.e  to  what  he  needed  that  there  is  really 
nothing  to  do  but  make  a  selection  of  the  best 
"takes"  of  a  scene. 

There  is  a  tradition  in  Hollywood  that  he 
once  shot  a  picture  that  only  had  to  be  trimmed 
500  feet — this  when  most  directors  who  make 
big  features  shoot  hundreds  of  thousands  of 
feet.  Chaplin  admits  to  400,000  of  film  shot 
to  get  7300  feet  of  picture  for  "The  Woman 
of  Paris." 

Jimmy  Cruze  has  just  one  gospel.  Enter- 
tainment. He  believes  that  the  prime  object 
of  a  motion  picture  is  entertainment.  He  has 
no  complexes,  no  inhibitions,  he  is  not  trying 
to  change  the  world,  or  the  industry. 

He's  making  good,  human,  honest  stories 
that  he  hopes  are  going  to  give  mama,  and 
papa,  and  the  kids  a  good  evening  of  enjoy- 
ment, clean  wholesome  enjoyment,  that  will 
make  them  forget  their  cares  and  troubles. 
Maybe  he's  right. 

\A ARSHALL  NEILAN  is  to  direct  Mary 
■*  Vl-Pickford  in  "Dorothy  Vernon  of  Haddon 
Hall."  It's  a  simple  announcement,  but  there's 
a  heart  throb  behind  it.  It  promises  lovely 
things  for  all  motion  picture  fans. 


For  Mickey  directed  Little  Mary  in  "Stella 
Maris,"  and  in  "Daddy  Longlegs,"  and  in 
"The  Rainbow,"  and  in  "Rebecca  of  Sunny- 
brook  Farm."  All  the  things  that  we  loved 
and  still  cherish  in  memory.  Seems  like  he 
ought  to  take  Mary  Grown  Up  and  make  us 
just  as  lovely  things. 

OUR  MARY  is  not  afraid  of  competition. 
^-'In  "  Rosita  "  she  plays  the  same  gypsy  role 
tha  t  Pola  Negri  plays  in  "  The  Spanish  Dancer." 
Now  she  has  plans  to  do  Juliet,  and  Norma 
Talmadge  has  said  definitely  that  she  will 
shortly  make  her  appearance  in  the  role  with 
Joseph  Schildkraut  as  Romeo. 

Mary's  "Romeo  and  Juliet"  may  be  the 
next  production  to  be  made  under  her  contract 
with  Ernst  Lubitsch,  which  calls  for  Lubitsch 
directing  one  Pickford  production  each  year 
for  three  years. 

A  GREAT  European  artist,  who  has  been 
visiting  in  Hollywood  and  whose  name  it 
is  not  fair  to  mention  here,  has  been  making  an 
exhaustive  study  of  the  motion  picture  indus- 
try. He  has  seen  thousands  of  films,  visited 
most  of  the  studios,  and  met  many  of  the  stars 
and  directors. 

"You  have  three  great  actresses  on  the 
screen,"  he  said  when  leaving.  "First  of  all. 
Mabel  Normand;  second,  Mary  Pickford.  And 
third,  Pola  Negri.  Put  Miss  Normand  is  the 
only  truly  great  one  of  them  all — for  she  alone 
is  free,  free  in  expression  and  in  development. 
Given  a  chance,  she  would  have  equalled 
Duse." 

INSIDE  and  unofficial — but  nevertheless 
authentic  information — discloses  that  Theda 
Rara  is  to  return  to  the  screen  in  the  fall.  She 
is  to  make  one  enormous  special  production,  to 
cost  a  fortune.  And  it  is  to  be  a  decided  novel- 
ty. There  are  to  be  nothing  but  women  in  the 
picture.  This  much  of  the  story  is  known. 
After  that,  she  is  to  make  her  own  produc- 
tions. 


Every  advertisement  in  fllOTOrLAY  MAGAZINE  is  guaranteed. 


Mi 


Photoplay  Magazine — Advertising  Section 


9* 


WITHOUT  KODAK  PORTRAIT  ATTACHMENT 

Made  with  lA  Pocket  Kodak,  Series  II,  Kodak  Anas- 
tigmat  lens  ./.  7.7  without  Kodak  Portrait  Attachment. 
Subject  15  feet  away. 


WITH  KODAK  PORTRAIT  ATTACHMENT 
Still  the  same  camera  and  the  same  subject,  but  here 
the    Kodak    Portrait    Attachment    was   used,  and    the 
picture  made  at  only  3^5  feet. 


Close-ups  with  your  Kodak 

Slip  a  Kodak  Portrait  Attachment  over  the  regular  lens  and  without  interfering 
with  the  camera's  operation  in  any  way,  your  Kodak  is  brought  into  sharp  focus  at 
close  range.  You  are  then  ready  for  informal  portraits  like  the  one  above;  ready, 
as  well,  for  arm's-length  close-ups  of  flowers,  and  other  objects  otherwise  too  small 
to  receive  full  photographic  recognition,     Kodak  Portrait  Attachment ,  J$  Cents 

Kodak  Diffusion  Portrait  Attachment  is  of  a  sharp  image  close-up,  the  lines  are 
just  an  extra  lens  similar  to  the  Kodak  pleasingly  soft.  Price,  Kodak  Diffusion 
Portrait  Attachment,  except  that  instead        Portrait   Attachment,    $1.25    and   $1.50. 


Ask  your  dealer  or  write  us  for  a  free  copy  of  "At  Home  with 
the  Kodak".     It  describes  Kodak  portraiture  in  detail. 


Eastman  Kodak  Company,  Rochester,  N.Y.TheKojakaty 


When  yuu  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


92 


Photoplay  Magazine — Advertising  Section 


Rest  when 
you  sleep! 

YOU  can't  get 
real  rest  if  your 
bedspring  sags  or  sways 
or  squeaks — if  it  does  not 
flex  to  give  equal  support  to 
every  part  of  the  body,  allow- 
ing every  muscle  and  nerve  to  relax. 

You'll  notice  the  difference  when 
you  replace  your  old  stiff  or  sagging 
bedspring  with  a  genuine 

WAV  (Sapless  Spring 


/vo    so 


S>    in   any   wjkv 


It  gives  you  the  utmost  in  sleeping 
comfort  and  restfulness — not  only 
for  a  year  or  two — but  permanent- 
ly, because  of  its  exclusive  features 
— the  patented  "Way"  hollow  strand 
construction ,  the  "Way"  truss 
supports,  etc. 

You  can  get  these  patented  features 
only  in  the  genuine  Way  Sagless 
Spring  —  the  kind  with  the  red 
stripes  on  the  frame. 

Guaranteed  for  25  years,  not  to 

sag,  stretch  or  break,  a  new  spring 
free  if  it  does. 

Have  you  read  "The  Restful  Way"? 
Write  for  a  copy. 

Way  Sagless  Spring  Co. 

946  E.  Hennepin  Ave.,  Minneapolis,  Minn. 

Brandt  factories  in  Chicago  and  Cleveland, 

Distributing    warehouses    at  Pittsburgh, 

Buffalo,  Detroit,  St.  Louis. 

Made  and  Sold  in  North  Atlantic  States  by 

Burton-Dixie  Corporation,  N.  Y. 
In  Canada:   by  Parkhill  Bedding,  Ltd., 
Winnipeg.       Dominion     Bedstead 
Co.,  Ltd.,  Montreal  and  Toronto. 
Southern  Distributors:     The  Belknap  Hdwe. 
&  Mfg.  Co.,  Inc.  Louisville,  Ky.,  Chittenden 
&    Eastman    Company,   Burlington,   Iowa,. 
Peck  &   Hills   Furniture   Co.,  Denver,  Col. 


Way   Sagless    Daybeds. 

The  improved  type  of  convert- 
ible daybed  (also  made  in 
davenport  styles)  opens  easily 
into  a  full  size  bed,  equipped 
with  genuine  Way  Sagless 
Spring.    Attractive  period  di  - 

sigm-,  beautifully  upholstered. 
Write  for  portfolio  of  styles. 


This  might  be  labeled  the  -perfect  family  group — if  only  baby  Zasu  Ann  Gallery 

were  in  the  picture!    The  married  happiness  of  Zasu  Pitts  and  Tom  Gallery  is 

(j(  tting  to  be  one  of  Hollywood's  great  legends.     Their  newest  photograph ,  taken 

while  on  a  flying  trip  to  New  York 


CONSTANCE  TALMADGE  is  taking 
French  lessons.  Nobody  knows  why,  un- 
less it  is  to  amuse  herself.  She  says  two  words, 
looks  at  the  solemn  and  attentive  French  pro- 
fessor, and  goes  into  wild  bursts  of  laughter. 
So  far  in  ten  lessons,  she  has  never  succeeded 
in  getting  a  whole  sentence  out  without  much 
intermediate  merriment. 

"It's  so  funny,"  she  said  the  other  day. 

"What'd  you  take  'em  for,  then?"  said 
Norma. 

"I  have  a  good  time,"  said  the  youngest 
Talmadge. 

T  WOULDN'T  be  surprised  if  Anita  Stewart 
-•-and  her  husband,  Rudolph  Cameron,  were 
reunited  shortly.  They  both  show  signs  of  be- 
ing too  much  interested  in  one  another  and  not 
interested  enough  in  anyone  else. 

I  met  Rudy  at  Montmartre  the  other  even- 
ing. He  was  making  a  flying  trip  to  Hollywood 
for  business.  He  expects  to  return  in  October 
to  reappear  in  pictures.  His  last  appearance 
on  the  screen  was  with  Anita. 

HARD  LUCK  VON  STROHEIM  and 
Good  Luck  Hughes,  speaking  of  Direc- 
tors Eric  and  Rupert  of  the  Goldwyn  forces. 

Yon  Stroheim  took  his  company  of  players 
for  "Greed"  to  the  sun-baked,  inferno-heated 
Death  Valley,  and  the  day  he  arrived  it  rained. 
The  first  rain  in  fifty  years,  said  the  oldest  in- 
habitant. 

Rupert  Hughes  took  his  company  of  "Law 
Against  Law"  to  Yellowstone  to  catch,  if 
possible,  the  famous  geyser,  Old  Faithful,  in 
action.  Old  Faithful  is  erratic  and  tempera- 
mental, and  Director  Hughes  expected  to  wait 
about  nine  weeks  to  coax  him  into  pictures. 
But  the  very  first  day  Old  Faithful  leaped  right 

Every  advertisement  In  PHOTOPLAY  MAGAZINE  is  guaranteed. 


out  and  made  good.  In  fact,  he  was  on  the 
job  before  Lew  Cody,  and  Jimmy  Hogan,  an 
assistant,  had  to  double  for  Lew  in  some 
"shots,"  getting  his  feet  cooked  to  blisters  for 
the  honor 

A  GOOD  deal  has  been  written  about  what 
-''■has  to  happen  to  make  motion  picture  stars 
cry — real  tears,  not  the  glycerine  variety.  But 
what  would  you  do  to  make  a  dog  cry? 

Laurence  Trimble  has  a  scene  in  "The  Love 
Master"  in  which  Strongheart,  his  dog  star, 
weeps  copiously  and  weeps  very  real  tears. 

How  did  he  do  it?  A  little  low  music — very, 
very  sad  music — and  a  lot  of  talk.  Larry 
scolds  Strongheart  until,  in  abject  misery,  the 
great  police  dog  hangs  his  head  and  the  tears 
roll  down  his  cheeks. 

No,  it  isn't  cruelty  to  animals.  Strongheart 
likes  it.  He's  a  natural  born  actor.  And  I've 
seem  'em  do  much  worse  things  to  humans  to 
get  the  same  results.    They  had  to. 

TX  THEN  they  erected  their  beautiful  new 
W  home  in  Beverly  Hills,  Wheeler  Oakman 
and  Priscilla  Dean  built  a  tennis  court  in  the 
rear.  But  they  found  soon  that  they  had  all 
too  little  time  to  play  on  it.  They  were  at  the 
studio  from  nine  in  the  morning  until  seven  at 
night. 

So  they  had  the  studio  electricians  install 
some  giant  lights  about  the  court  and  now  the}' 
play  evenings.  Often,  after  a  dinner  party,  the 
guests  dash  home  and  slip  into  tennis  clothes 
and  come  back  for  a  set  or  two.  Or  else  Pris- 
cilla gives  tennis  suppers  on  the  lawn.  So  ten- 
nis as  an  evening  amusement  is  becoming  very 
popular  in  Beverly  Hills,  and  we  shall  prob- 
ably have  any  number  of  brightly  lighted 
courts  before  long. 


Photoplay  Magazine — Advertising  Section 


93 


Astounding  Scientific  Discovery — Dr.  Egan's  Magic  Night  Gloves! 

Make  Rough,  Reddened,  Work-Worn  Hands  Soft  and 

White  Over-Night! 

Results  absolutely  guaranteed  in  writing. 
LEGAL  GUARANTEE  BOND  WITH  EVERY  PAIR 


JUST  think  of  it — putting  on  a 
pair  of  gloves  for  a  night  and 
finding  your  hands  exquisite- 
ly white  and  soft!  That  is  the 
magic  of  Dr.  Egan's  amazing 
medicated  gloves!  Nothing  like 
them  ever  known!  These  gloves 
of  medicated  fabric  (not  rubber) 
actually  turn  your  hands  white,  as 
white  as  a  lily  and  as  smooth  and 
soft. 

No  matter  how  red  .your  hands, 
or  how  sallow  or  yellow  or  how 
deeply  blotched  with  freckles  or  liver  spots 
— no  matter  how  rough  or  coarse  or  work- 
wrorn  your  hands,  the  magic  of  these  medi- 
cated gloves  will  turn  them  white  and  soft, 
fresh  and  young-looking. 

Just  one  night's  wear  of  these  marvelous 
gloves  is  enough 
to  convince  you. 
Wear  the  gloves 
four  or  five 
nights  and  you 
have  a  new  pair 
of  hands.  It's 
the  medicated 
fabric  that  does 
the  work.  The 
gloves  are  im- 
pregnated with  a 
marvellous  solu- 
tion perfected 
by  the  famous 
Dr.  S.  J.  Egan. 
The  medicated 
fabric  when 
activated  by  the 
natural  warmth 
of  the  hands  has 


a  peculiarly  potent  whitening  and 
softening  effect  upon  the  hands. 
The  hands  become  white  —  a 
charming,  natural  white.  They 
become  soft  and  white  as  velvet. 
And  all  so  quick  as  to  be  dum- 
founding. 

The    complete    .$5    Dr.    Egan 

Magic  Glove  outfit  which  we  are 

offering  for  a  limited  time  at  the 

sleep,  or  an  hour  or'two    special  introductory  price  of  only 

while  doing  your  work.    $1.95    consists   of  'the    following: 

one  pair  freshly  medicated  gloves, 

one   bottle   glove   medicator;   one   jar   Dr. 

Egan's    Pore-Lax;    one    copy    Dr.    Egan's  booklet, 

"The  Care  of  the  Hands";  all  in  a  neat  container. 

The  Pore-Lax  is  a  special   cream  to  apply  before 

donning  the  gloves  to  open  the  pores  of  the  skin  for 


Wear  them  while  you 


the  action  of  the  medicated  gloves.  The  glove 
medicator  is  for  restoring  the  potency  of  the  gloves 
after  a  period  of  wear. 

Try  the  Gloves  FREE 

See  the  magic  of  these  medicated  gloves  for  your- 
self! Test  them  at  our  risk.  Send  today  for  the 
complete  outfit  for  five  days'  free  trial. 

Note  the  difference  in  your  hands  from  just  one 
night's  wear.  See  the  complete  and  amazing  trans- 
formation in  three  or  four  days.  Mark  how  lovely 
your  hands,  how  white  and  smooth.  If  five  nights' 
wear  of  the  gloves  doesn't  make  your  hands  more 
beautiful  than  you  ever  dreamed  possible,  don't  keep 
the  gloves.  Return  them  to  us  and  you  won't  be 
out  one  cent  for  the  free  trial.     You  are  the  judge. 

SEND  NO  MONEY 
Just  the  Coupon 

HSend  no  money  now— just  the  coupon.  Pay  the 
postman  onlv  $1.05  (plus  postage)  on  delivery  of  the 
gloves.  If  in  five  days  you  are  not  more  than  de- 
lighted and  amazed  with  the  results  from  the  gloves, 
just  send  them  back  and  your  money  will  be  promptly 
refunded  in  full.  We  give  you  a  written  guarantee 
to  this  effect.  You  run  no  risk.  Fill  out  and  mail 
the  coupon  now  or  copy  it  in  a  postcard  or  letter. 
If  apt  to  be  out  when  postman  calls  send  $2.00  now. 
Our  guarantee  assures  you  of  your  money  back  if 
you  are  not  perfectly  satisfied.  Address  Dr.  S.  J. 
Egan,  Dept.  60,  220  S.  State  Street,  Chicago,  Illinois. 


See  How  Astonished 
Women  Are 

"  I  never  thought  there  was 
a  thing  in  the  world  that 
could  whiten  my  red  hands." 
writes  Miss  Ruth  Kinney. 
1108  Rosemont  Ave.,  Chi- 
cago. "Now  after  using  the 
gloves  only  a  week  my  hands 
are  as  white  and  soft  us  a  per- 
son could  wish  for." 

"My  hands  were  a  'sight' 
from  housework."  writes  Mrs. 
Butler  of  Chicago.  "Now 
they  are  so  white  and  smooth 
as  to  look  like  a  new  pair  of 
hands.  I  cannot  get  over  the 
wonderful  change  that  took 
place  so  quickly." 

"Have  found  Dr.  Egan's 
Magic  Gloves  to  he  wonder- 
fully successful."  writes  Mrs. 
S.  Welner,  Golden  WestHotel, 
Reno,  Nevada.  "My  hands 
were  always  red  and  rough 
and  your  gloves  are  making  a 
great  Improvement." 


For  Complete  $5.00  Outfit  on  This  Amazing  Introductory  Offer 

These  gloves  will  soon  be  offered  the  public  through  the  regular  channel  at  $5 
the  pair.  But  a  limited  number  of  sets  are  now  being  offered  for  advertising  pur- 
poses at  SI. 95.  You  can  get  this  complete  S5.00  outfit  for  S1.A5  on  this  Introductory 
offer.  But  you  must  act  at  once,  as  only  ten  thousand  sets  are  to  be  distributed  at 
the  cut  price.  You  may  pay  the  postman,  or,  if  you  prefer  enclose  S2  with  coupon 
and  receive  package  all  paid  for.  Remember,  every  penny  of  your  money  back 
If  you  say  so.     Clip  and_mail  the  coupon  now  before  you  forget. 

CLIP  AND  MAIL  THIS  COUPON 

DR.  S.  J.  EGAN,  Dept.  60 

|     220  S.  State  Street,  Chicago,  Illinois 

Please  send  me  (in  plain  package)   for  free 
trial,  a  pair  of  Dr.   Egan's  Magic  Gloves  for 

I  Whitening  and  softening  the  hands,  with  Pore- 
Lax  and  Medicator.  1  will  pay  postman  $1.9fi 
S  (plus  postage)  on  delivery  of  the  gloves,  (if 
vim  prefer,  send  S2.00  now  in  full  payment.) 
If  I  am  not  perfectly  delighted  with  the  change 
in  my  hands  in  5  days,  I  may  return  gloves  and 
get  my  money  back  in  full. 


Name . 


Dr.  Egan's  is  the  Original  Magic  Glove  Outfit 


Glove  Siz 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


94 


Photoplay  Magazine — Advertising  Section 


Cleans  every  part 

of  every  tooth 

every  time 

WITH  any  tooth  brush 
and  some  extra  effort 
you  can  clean  parts  of  all 
your  teeth  —  or  even  all  the 
surfaces  of  some  teeth. 

You  can  be  sure  that  a  Pro- 
phy-lac-tic  Tooth  Brush  does  a 
thorough  job  for  every  tooth.  The 
scientifically  curved  handle  and 
the  tufted  bristles  of  the  Pro- 
phy-lac-tic  enable  you  to  clean 
easily  every  part  of  every  tooth. 
Pro-phy-lac-tic  Tooth  Brushes  are 
made  with  hard,  medium  and  soft 
bristles.  In  three  sizes  —  adults', 
youths'  and  children's.  They  are  all 
guaranteed.  We  will  replace  the 
brush  you  buy  if  it  is  not  abso- 
lutely satisfactory. 

FLORENCE    MANUFACTURING    CO. 
Florence,  Mass. 

Sold  by  all  dealers  in  the  United  States,  Canada, 
and  all  parts  of  the  world 


Tooth  'Rnufi 


It  was  her  ability  to  cry  that  icon  June  Mercer,  eleven  year  old  star,  a  place  upon 

the  screen.     Discovered  by  Lois  Weber,  she  was  permitted  to  sob  her  way 

through  UA  Chapter  in  her  Life,"  as  Jewel 


\A  ARY  PICKFORD  is  buying  Pola  Negri's 
■'■''-'■cast  off  clothes.  That's  the  way  James 
Craze's  "Hollywood"  makes  it  appear.  I  was 
watching  the  picture  with  Pola  in  the  Lasky 
projection  room  when  the  scene  appeared  in 
which  a  dress  is  delivered  to  Mary  at  Pickfair. 
When  it  was  unwrapped,  Pola  cried:  "Why, 
that's  my '  dress — Mary's  buying  my  Bella 
Donna  dress!"  However,  Pola  agrees  not  to 
sue  inasmuch  as  the  dress  really  belongs  to  the 
Lasky  wardrobe  and  was  purloined  by  Cruze 
to  use  in  the  scene. 

T>  UMOR  has  it  very  strongly  that  Gloria 
-^-Vswanson  has  given  up  the  gorgeous  man- 
sion which  she  bought  a  short  time  ago  in 
Beverly  Hills.  The  Gillettes,  from  whom  she 
bought  it,  are  living  in  it  again,  and  will  make 
no  further  statement  than  that  "We're  living 
in  it.    You'll  have  to  ask  Miss  Swanson." 

Miss  Swanson  is  in  New  York  and  declares 
that  she  wants  to  stay  there.  She  is  making 
every  appeal  to  the  Paramount  organization  to 
let  her  live  and  work  in  the  east  as  she  declares 
the  change  and  the  need  of  new  intellectual 
contacts  will  help  her  immensely.  The  ques- 
tion  isn't  yet  decided. 

•"THE  Charles  Rays  have  been  keeping  open 
■*■  house — or,  rather,  open  gardens — on  Sun- 
days at  their  Beverly  Hills  home,  entertaining 
with  a  series  of  barbecues.  During  the  after- 
noon guests  swim  in  the  pool,  and  at  twilight 


dinner  is  served  at  a  table  twinkling  with 
candles  on  the  lawn.  It  is  served  hot  by  the 
cook  from  a  brick  oven  in  a  corner  of  the 
grounds.  At  night  the  gardens  are  magically 
beautiful,  tiny  lights  illumining  the  pools  and 
the  lily  moat,  over  which  rise  tall  cypresses, 
palms  and  rose  trees,  merging  their  shadows  in 
a  dreamy  grandeur.  After  dinner  the  guests 
are  entertained  with  music  in  the  drawing  room 
and  the  tea  house,  or  left  to  drift  as  their  fancy 
dictates  in  the  scented  shadows  of  the  gardens. 
A  charming  home  where  charming  people  meet. 
Among  the  guests  at  recent  barbecues  I've  vis- 
ited were:  Theda  Bara  and  her  husband, 
Charles  Brafcin,  Mr.  and  Mrs.  Jesse  Lasky, 
Hedda  Hopper  (Mrs.  De  Wolf  Hopper'  V), 
Carmel  Myers,  Earle  Foxe,  Air.  and  Mrs. 
Ernst  Lubitsch,  Mr.  and  Mrs.  Bob  Wagner, 
Enid  Bennett  and  Fred  Niblo,  Mr.  and  Mrs. 
Antonio  Moreno,  Mitchell  Lyson,  Julanne 
Johnston,  King  Vidor,  and  Mrs.  Leslie 
Carter. 

ZASC  PITTS  walked  into  the  office  of  Pho- 
toplay, the  other  day,  with  her  handsome 
husband,  Tom  Gallery,  in  tow.  The  pair  of 
them  looked  very  young — not  at  all  like  the 
responsible  and  respectable  parents  of  a  lusty 
and  growing  daughter.  Rather  like  nice  kids, 
high  school  students,  they  were.  Zasu  wore  a 
simple  little  tan  polo  coat  and  a  modest  dark 
hat.  and  she  blushed  when  she  saw  that  she  was 
being  looked  at. 


Every  advertisement  in  PH0T0I*LAY  MAGAZINE  Is  Guaranteed. 


Photoplay  Magazine — Advertising  Section 


"""TOM  .MIX'S  Wild  West  Show!" 

-*•  You'll  see  that  line  on  your  home  town 
billboards  before  long.  When  Tom  completes 
his  Fox  contract,  he  is  going  to  organize  a  cir- 
cus and  take  it  over  the  country.  He'll  clean 
up.  And  he  won't  have  far  to  go  from  Holly- 
wood to  get  his  freaks. 

MOVIE  stars  suffer  from  stage  fright  on 
opening  nights  quite  as  much  as  stage  stars 
do.  Mary  Pickford  was  a  nervous  young 
woman  out  in  Hollywood  the  day  her  "  Rosita  " 
opened  in  New  York.  .Mary  is  always  pessi- 
mistic concerning  her  pictures,  always  imagin- 
ing that  she  is  about  to  slip.  But  she  was 
bolstered  back  to  happiness  when  the  tele- 
grams from  New  York  began  pouring  in  con- 
gratulating her  on  her  new  achievement  as  an 
actress. 

One  which  particularly  delighted  her  came 
from  Marion  Davies,  who  herself  has  been 
-roring  so  magnificently.  Miss  Davies  con- 
gratulated Mary  upon  her  beautiful  and  in- 
spiring work,  adding,  "You  are  and  always 
will  be  queen  of  them  all." 

TT  happened  at  a  dinner  party,  at  which  Elinor 
-*-Glyn  was  a  guest.  She  came  in,  late  as 
usual,  and — as  usual — in  her  odd  collection  of 
clothes  and  make  up.  With  her  eyes  accen- 
tuated by  a  greenish  blue  color  that  she  affects, 
and  her  crimson  mouth  starting  from  the  in- 
tense pallor  of  her  face.  And,  crowning  touch, 
a  great  tiger  skin  wrapped  around  her  body. 

It  was  Rupert  Hughes  who,  turning  to  the 
lovely  lady  at  his  left,  burst  into  impromptu 
poetry.     As  follows: 

"Do  you  care  to  sin?"  he  questioned 

"Like  Elinor  Glyn, 

"In  a  tiger  skin? 

"Or  do  you  prefer  to  err 

"In  some  other  fur?" 

T  OUIS  MACLOON,  publicity  director  for 
-^Co  ,mopolitan  Productions,  thinks  he  has 
discovered  a  new  picture  star,  although  he's 
not  quite  sure  of  either  the  acting  or  the 
business  end.  The  candidate  is  Jack  Balaber, 
chief  office  boy  for  Macloon.  When  Jewish 
New  Year  came  around,  Jack  asked  for  the  day 
off.    Macloon  agreed,  but  said: 

"All  right.  Jack,  but  be  sure  you  go  to  the 
Temple  and  not  to  a  ball  game." 

Jack  promised  and  left.    The  next  day  Mac- 


Marion  Davies  and  her  little  toy 
house,  which  ivas  built  in  the  Cos- 
mopolitan stadia  carpenter  shop,  in 
New  York,  and  shipped  in  sections  to 
Connecticut — where  Miss  Dacies  is 
working  on  her  new  picture  "Yolan- 
da."  Just  big  enough  to  hold  a  chaise 
longue,  a  dressing  table,  a  victrola 
and  a  tog  carpet  sweeper! 


95 


Front  view 

Style  0409 


Trade  Ma 


Jfjarher's 

"WRAP-AROUND 

The  Corset  Invisible 

A  thoroughly  modern  corset  is  this  Warner 
Wraparound,  style  0409,  which  replaces  lac 
ings  by  2  panels  of  unseamed  elastic,  has  elastic 
gussets  in  a  low  top  and  a  slightly  raised  point 
to  control  rebellious  flesh  at  the  diaphragm. 
And,  like  all  Warner  Wraparounds,  beneath 
your  frock,  it  is  INVISIBLE. 


Style  0409,  Illustrated 
is  for  average  figures 

$5.00 

Send  forfolder  of  Warner's 
Wrap-arounds  for  stout- 
type,  slender-type,  average- 
type  and  curved-type 
figures. 

Prices  $1.50  up. 

Wrap-arounds  arc  made  only  by  the 
Warner  Brothers  Co. ,  347  Madison 
Ave.,  ~New  York;  367  W.  Adams 
St.,  Chicago;  28  Qeary  St.,  San 
Francisco.  Made  also  in  Canada  by 
the  Warner  BrothersCo.,  Montreal. 


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POMPE1AN  BATH 
S.  S.  Le-viat/mn 


EUROPE 


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now  the  social  season  over 
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and  every  taste  available  now 
at  new  low  Winter  Rates. 

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INFORMATION  BLANK 

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Info.  Sect.  1728 Washington,  D.C. 

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giving  travel  facts.  I  am  considering  a  trip  to  Europe 
Zl,  to  the  Orient  from  Seattle  D.  to  the  Orient 
from  San  Francisco  D.  to  South  America  D. 


My  Name- 
Addrest  _ 
Tfflvn 


^r 


Tod  Browning,  Goldwyn  director,  cast  Ruby  Lafayette  as  the  mother  of  Edward 

Martindel,  in  "The  Day  of  Faith."     They  liked  the  arrangement  so  well  that 

adoption  papers  were  made  out — and  now  they're  mother  and  son  for  life! 


loon  happened  out  on  the  set  where  Marion 
Da  vies  was  working  in  "Yolanda"  and  dis- 
covered Jack  bouncing  around  in  the  garb  of  an 
"extra."  Incidentally,  he  was  getting  $7.50 
for  the  day's  work.  Macloon  grabbed  him  by 
the  collar. 

"Jack,"  he  said,  "I  don't  know  whether 
you'll  ever  be  another  Valentino,  but  you  cer- 
tainly should  become  a  great  business  man 
anyway." 

ERNST  LUBITSCH  and  his  wife  had  a 
garden  party  the  other  day,  at  their  charm- 
ing Beverly  Hills  home.  And  all  to  celebrate 
the  first  anniversary  of  the  wedding.  The  gar- 
den party  was  followed  by  a  dinner  and  a  dance 
for  the  more  intimate  friends  of  the  family. 

We  can  remember  when  Herb  Howe  inter- 
viewed Lubitsch,  on  the  eve  of  his  marriage,  in 
Germany.  Lubitsch  was  working  on  a  produc- 
tion, and  wondering  how  he'd  ever  get  a  few 
minutes  off  to  have  the  ceremony,  if  we  remem- 
ber correctly.  Well,  times  have  changed.  He 
was  a  hard-working  director,  then.  Now  he's 
migrated  and  has  plenty  of  time  for  the  garden 
parties  of  life! 

WHEN  Jackie  Coogan  completed  his 
"Long  Live  the  King,"  he  left  for  his 
Nevada  ranch  to  hunt  bears  and  fish  for 
whales.  His  mother  and  father  accompanied 
him.  Jackie's  mountain  retreat  is  two  days' 
travel  by  pack  train  from  the  nearest  railroad. 


CH1RLEY  MASON,  the  pretty  little  William 
^Fox  star,  has  been  receiving  condolences  re- 
cently on  the  death  of  her  husband,  Bernard 
J.  Durning,  one  of  the  best  known  directors 
in  the  industry.  Mr.  Durning  contracted 
typhoid  fever  while  directing  a  Fox  production 
starring  Gallagher  and  Shean.  He  was  thirty 
years  old  and  had  been  with  the  Fox  studios 
for  three  years.  Previous  to  that  he  was  with 
Metro. 

A  REPORTER,  doing  a  story  in  Hollywood, 
■**■  was  being  shown  through  the  Powers 
Studio.  Pausing  beside  a  set,  he  asked  what 
picture  was  being  made.  When  they  told  him 
the  name  "The  Mail  Man"  (Ralph  Lewis'  lat- 
est venture  into  the  simple  life  of  the  people 
who  work  for  the  welfare  of  the  nation,  and  all 
that  ;-ort  of  thing)  he  registered  consternation: 
"My  Gawd,"  he  questioned,  "when  are  they 
going  to  let  up  on  this  sex  stuff?" 

TAMES  CRUZE,  director  of  "The  Covered 
J  Wagon,"  has  fallen  into  the  clutches  of  the 
law.  He  has  been  arrested  for  bootlegging — 
bootlegging  crabs.  Mr.  Cruze  was  at  Eureka, 
California,  and,  becoming  enamored  of  the 
kind  of  crabs  served  there,  he  ordered  several 
hundred  shipped  to  Hollywood. 

But  there  is  a  law  in  Humboldt  county 
which  forbids  the  shipping  of  these  giant  crabs 
across  the  county  line,  as  it  is  feared  the  supply 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


might  be  depleted.  Cruze  knew  nothing 
about  this  law  until  Chief  of  Police  Cleney 
arrested  him  as  a  crab  bootlegger. 

The  members  of  his  company  missed  him  at 
dinner  that  night,  and  wondered  at  his  ab- 
sence. When  he  did  appear,  he  was  rather 
gruff — crabbed,  in  fact.  And  if  you  wish  to 
insult  Mr.  Cruze  mortally,  invite  him  to  lunch 
and  order  crabs. 

D  IN-TIN-TIN,  the  police  dog  who  has 
-tVtarred  in  many  a  feature  film,  is  a  real 
hero.  For  he  rescued  a  little  girl,  a  few  days 
ago,  from  a  certain  and  horrible  death. 

It  happened  this  way.  The  child,  whose 
name  is  Harriet  Stone,  had  made  friends  with 
the  dog  at  the  Warner  Brothers  studio,  where 
a  picture  was  in  progress.  They  became  great 
pals  and  used  to  wander  off  together  for  long 
walks.  One  afternoon,  when  they  were  to- 
gether and  the  youngster  was  picking  flowers, 
they  strayed  near  a  marshy  spot.  And  before 
Harriet  knew  it,  almost,  she  was  sinking  into  a 
quagmire.  At  her  sudden  cry  Rin-tin-tin  ran 
to  her,  and  the  child  grasped  him  around  the 
neck.  By  that  time  she  was  breast  deep  in  the 
mud,  and  too  firmly  embedded  to  be  pulled  out 
by  the  animal  alone.  The  dog  realized  that 
and,  holding  himself  absolutely  rigid,  with  feel 
braced,  he  began  to  bark.  Still  barking  hoarsely, 
still  with  his  feet  braced,  thev  found  him. 


97 


Mile.  Jean  de  Balzac,  great  grand- 
niece  of  Honore  de  Balzac,  in  Cali- 
fornia's most  modest  bathing  suit. 
Not  even  an  inch  of  white  neck  does 
the  lady  show! 


Ask  Any  Beauty 

How  she  beautifies  her  teeth 


If  all  women  knew  what  millions  know, 
they  would  all  brush  teeth  in  this  new  way. 

Ask  anyone  with  glistening  teeth.  You 
see  them  everywhere  today.  You  will 
probably  learn  that  the  reason  lies  in  this 
new-day  method. 

Then  you  can  see  the  results  on  your 
own  teeth  if  you  make  this  delightful  test. 

Clouded  by  film 

The  natural  tooth  lus- 
ter is  clouded  by  film.  At 
first  the  film  is  viscous. 
You  can  feel  it  now.  It 
clings  to  teeth,  gets  be- 
tween the  teeth  and  stays. 

Food    stains,    etc.,    dis- 
color it.     If  not  removed, 
it  forms  dingy  coats.  Tar- 
tar is  based  on  film.     And  few  things  do 
more  to  mar  beauty. 

Film  also  holds  food  substance  which 
ferments  and  forms  acid.  It  holds  the 
acid  in  contact  with  the  teeth  to  cause 
decay.  Germs  breed  by  millions  in  it. 
They,  with  tartar,  are  the  chief  cause  of 
pyorrhea.  Thus  most  tooth  troubles  are 
now  traced  to  film. 

Very  few  escaped 

Tooth  troubles  were  constantly  increas- 
ing. Beautiful  teeth  were  seen  less  often 
than  now.  So  dental  science  saw  the  need 
for  better  cleansing  methods. 

Research  found  two  ways  to  fight  film. 
One  acts  to  curdle  film,  one  to  remove  it, 
and  without  any  harmful  scouring. 

REG    US        iMHB^aMMHMI^ 

The  New-Day  Dentifrice 

A  scientific  film  combatant,  which 
whitens,  cleans  and  protects  the 
teeth  without  the  use  of  harmful 
grit.  Now  advised  by  leading  den- 
tists the  world  over. 


Protect  the  Enamel 

Pepsodent  disintegrates  trie  film. 
then  removes  it  with  an  agent  far 
softer  than  enamel.  Never  use  a 
film  combatant  which  contains 
harsh  grit. 


Able  authorities  proved  these  methods 
effective.  Then  a  new-type  tooth  paste 
was  created,  based  on  new  discoveries. 
These  two  great  film  combatants  were  em- 
bodied in  it. 

The  name  of  that  tooth  paste  is  Pepso- 
dent. Careful  people  of  some  fifty  nations 
now  use  it,  largely  by  dental  advice. 

Corrects  mistakes 

Pepsodent  also  corrects 
mistakes  made  in  tooth 
pastes  of  the  past.  It 
multiplies  the  alkalinity 
of  the  saliva.  That  is 
there  to  neutralize  mouth 
acids,  the  cause  of  tooth 
decay. 

It  multiplies  the  starch 
digestant  in  the  saliva.  That  is  there  to 
digest  starch  deposits  which  may  otherwise 
ferment  and  form  acids. 

Former  tooth  pastes  brought  just  oppo- 
site effects.  They  depressed  these  natural 
tooth-protecting  agents. 

Your  home  needs 

Everyone  in  your  home  should  adopt 
this  method.  They  will  when  they  see 
the  results. 

Send  the  coupon  for  a  10-Day  Tube. 
Note  how  clean  the  teeth  feel  after  using. 
Mark  the  absence  of  the  viscous  film.  See 
how  teeth  whiten  as  the  film-coats  dis- 
appear. 

The  results  in  one  week  will  delight  and 
convince  you.      Cut  out  the  coupon  now. 


10-Day  Tube  Free 

THE   PEPSODENT    COMPANY, 

Dept.  310,  1104  S.  Wabash  Ave.,  Chicago,  111. 
Mail    10-Day   Tube    of  Pepsodent    to 


Only  one  tube  to  a  family 


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9  8 


Photoplay  Magazine — Advertising  Section 


Ij 


IlLxquisite  morsels 
of  Vanilla  Chocolate, 
wrapped  in  pure  tin 
foil.  Delicious  as 
sun-ripened  fruit.  A 
delightful  food  -  con- 
fection for  the  entire 
family.  Tempting  to 
the  last  piece. 


If  your  dealer  cannot  supply  you,  send 
$1.00  for  a  pound  box. 


pfi 


tyhe  only 
GkocolaleBuds 


H.  O.  Wilbur  &.  Sons,  Inc.,  Phila.,  Pa. 
Makers  of  Wilbur's  Cocoa 


All  set  for  a  good  <>1<I  Irish  honeymoon — Mr.  <in<l  Mrs.  John  McCormick. 
Not  the  famous  tenor  and  his  wife — no,  indeed!  This  Mr.  McCormick-  is  the 
western  head  of  First  National,  arid  the  blushing  bride  was  Miss  Colleen  Moore 


JUDGING  from  recent  remarks  by  Mary 
Pickford,  she  is  developing  into  a  sort  of 
Pollyanna.  Now  she  has  promulgated  a  recipe 
for  happiness.    Here  it  is. 

"To  be  truly  happy,  one  must  be  grateful 
and  keep  harmony  with  one's  self.  The  house 
you  live  in  twenty-four  hours  of  the  day  is 
yourself.  Keep  this  a  happy  house.  If  you 
feel  a  crossness  coming  on,  just  keep  still. 
Squabbles  and  quarrels,  sulks  and  anger  are 
habits.  Keep  from  beginning  them.  Shut 
them  inside  yourself.  Have  a  'spat  house'  or 
'mad  office,'  or  run  into  a  back  lot  somewhere 
if  you  must  scold  or  cry  or  wrangle." 

All  of  which  is  good  advice,  but  it  sounds 
familiar,  somehow. 

ANOTHER  "ideal"  screen  marriage  has 
met  an  untimely  end.  Dagmar  Godowsky, 
screen  actress  and  daughter  of  Leopold  Godow- 
sky, the  famous  pianist,  has  confirmed  the  re- 
port that  the  marriage  chariot  which  she  has 
been  occupying  with  Frank  Mayo,  actor  and 
director,  is  not  running  smoothly. 

She  admitted  that  she  and  Mayo  had  sepa- 
rated and  that  she  had  come  to  New  York  for 
that  reason.  Since  her  arrival  in  New  York, 
she  had  consulted  an  attorney. 

The  Mayos  were  married  in  Tia  Juana,  Mex- 
ico, in  1921,  three  days  after  Mayo  had  been 
divorced.  There  was  some  question  of  the 
legality  of  the  marriage,  but  that  was  finally 
adjusted,  and  the  film  world  called  the  match 
an  "ideal"  one.  Someone  is  always  shattering 
ideals. 

MABEL  NORMAND  was  in  the  hospital 
some  weeks  as  the  result  of  a  bad  fall  from 
her  horse.  The  accident  occurred  at  Coronado, 
where  Miss  Normand  was  spending  the  week 
end  with  friends. 

The  horse  bolted  toward  the  ocean,  threw 
her  heavily  to  the  earth,  and  just  missed 
trampling  upon  her.  She  sustained  a  broken 
collar  bone,  bad  face  bruises  and  a  sprained 
knee.  A  special  train  was  hired,  when  she  was 
discovered  by  friends  unconscious  in  the  sands 
a  few  hours  later,  and  she  was  rushed  to  a  Los 
Angeles  hospital. 

MADAME  Elinor  Glyn  has  become  a  dev- 
otee of  the  dance.  Almost  every  evening 
she  is  in  the  Cocoanut  Grove,  accompanied  by 
some  distinguished  gentleman,  and  she  rarely 

Every  advertisement  in  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


fails  to  respond  to  the  music.  She  dances  ex 
quisitely,  with  a  grace  and  verve  that  are 
reminiscent  of  Irene  Castle.  She  was  there  the 
other  evening  in  a  dance  frock  of  apricot  taf- 
feta, a  band  to  match  in  her  glowing  red  hair, 
and  accompanied  by  Craig  Biddle,  Jr. 

Daytimes,  Madame  Glyn  is  supervising  the 
production  of  "Three  Weeks"  at  the  Goldwyn 
studio.  Aileen  Pringle  is  to  be  "The  Lady" 
and  Conrad  Nagel  is  to  be  Paul.  Miss  Pringle 
has  beauty  and  much  of  that  vague  something 
called  "class."  Madame  Glyn  is  much  pleased 
with  her  selection. 

PNID  BENNETT  NIBLO  is  a  charming 
-'—'hostess  and  a  lovely  and  competent  actress, 
but,  as  a  real  estate  agent,  her  husband,  Fred 
Niblo,  declares  she  is  a  total  loss.  The  Niblo 
home  in  Beverly  Hills  is  for  sale — they  are  to 
build  a  new  one  on  a  bigger  piece  of  ground  up 
in  the  canyon — and  Miss  Bennett  was  showing 
it  to  a  friend  who  thought  of  buying.  The 
question  of  price  came  up.  Miss  Bennett 
named  a  figure. 

"That  seems  fair,"  said  the  friend.  "It's 
worth  that." 

"Oh,  no,  it  isn't  really,  I  guess,"  said  Miss 
Bennett.  "It's  an  old  house  and  not  in  very 
good  shape.  But  with  the  ridiculous  boom  in 
prices  out  here  now,  we  feel  we  ought  to  get 
it." 

HOOT  GIBSON,  Universal's  prize  cowboy 
star,  and  his  wife,  decided,  after  the  ar- 
rival of  a  small  daughter  some  time  ago,  to  sell 
the  honeymoon  house  they  had  built  in  Beverly 
Hills  and  buy  one  where  there  would  be  room 
for  a  proper  nursery. 

They  put  a  price  on  their  house  and  a  tourist 
went  to  look  at  it.  The  tourist  decided  that,  in 
spite  of  the  beauties  of  the  place,  the  price  was 
too  high.  The  next  evening  he  happened  to 
meet  Hoot  at  a  party  in  Beverly  Hills.  The 
cowboy  looked  extremely  low  in  his  mind. 
After  some  manoeuvering  he  got  the  prospec- 
tive customer  off  in  the  corner  and  said:  "You 
like  that  house?  Nothing  standing  in  the  way 
but  the  price?  All  right — you  can  have  it  for 
$4000  less." 

They  agreed.  The  next  day  the  tourist 
called  at  the  Gibson  home,  talked  with  Mrs. 
Gibson- — and  caught  a  bird's  eye  view  of  Hoot 
making  frantic  and  Masonic  signals  in  the 
background. 


tf* 


Photoplay  Magazine — Advertising  Section 


Mrs.  Gibson  mentioned  the  original  price. 
Hoot  signalled  frantically — pathetically.  Mrs. 
Gibson  smiled  placidly.  The  tourist  gave  up 
in  despair. 

Whereupon  he  discovered  later  that  Hoot 
and  his  wife  had  had  what  is  known  as  a  tiff, 
that  Hoot  had  set  the  lower  price  without  her 
knowledge,  and  was  afraid  she  might  find  out. 
Altogether  it  was  a  very  intricate  diplomatic- 
affair  and  Hoot  was  perfectly  willing  to  give 
the  buyer  his  own  check  if  thedeal  went  through 
It  didn't. 

WHEN  Lillian  Gish  Pepped  out  upon  the 
stage  of  the  Forty-Fourth  Street  Theater, 
after  the  first  showing  of  "The  White  Sister," 
she  was  greeted  with  the  sort  of  applause  that 
shakes  even  blase  Broadway.  Very  slim  and 
young  she  looked,  with  her  fluffy-  light  hair 
done  in  coils  on  each  side  of  her  head,  as  she 
wears  it  in  the  picture.  And  quite  bride-like  in 
her  simple  but  exquisite  frock  of  white  satin. 
One  almost  felt  that  she  was  some  wistful  child, 
dressed  up  to  play  at  weddings,  but  when  she 
spoke  her  voice  was  so  sweet  and  confident  and 
her  manner  was  graceful  and  poised! 

SPLENDID  reports  are  circulating,  among 
those  who  have  been  privileged  to  see  it, 
about  "The  Life  of  Abraham  Lincoln"  which 
has  just  been  filmed  by  the  Rockett  Brothers. 
It  is  stated  that  the  film  is  a  great  dramatic 
presentation,  beautifully  written  and  acted, 
and  that  it  makes  Lincoln  live  and  breath  in  all 
his  glory  before  you. 

Certainly  it  deserves  to  succeed.  The 
Rockett  boys  sunk  all  the  money  they  had  in 
it — it  was  an  ideal  which  they  tried  to  make 
come  true.  Frances  Marion  worked  for 
months,  gathering  material  and  spent  an  im- 
mense amount  of  time  on  the  script — all  on  a 
gamble  that  they  would  make  something  big 
and  fine  for  the  American  people.  If  it  is  as 
fine  as  they  say  it  is,  the  American  people  are 
going  to  be  mighty  grateful. 

BARBARA  LA  MAR,  the  siren  in  "Strangers 
of  the  Night,"  likes  the  job.  She  has  no 
patience  with  actresses  who  say  they  don't  like 
to  play  "vamp"  roles. 

"I  don't  want  to  be  an  ingenue,"  she  said  the 
other  day.  "I  think  part  of  the  joy  of  being  a 
woman  is  to  exercise  fascinations  on  the  male. 
The  only  male  star  that  I've  met  who  seems 
to  be  completely  immune  is  Jackie  Coogan." 


One  of  the  prettiest  of  the  white  hopes, 
in  training.  Helene  Chadicick  is 
going  to  be  a  regular  fighter — take  it 
from  her  pugilistic  altitude!  —  but 
she's  not  going  to  spoil  her  camera 
face  if  she  can  help  it! 


She  overheard  them 
talking  and,  sure 
enough,  it  was  about 
her!" 


Perhaps  they  say  it  behind 
your  back 

SHE  had  noticed  something  occasionally  in  other 
people — particularly  in  the  case  of  one  man  who  used 
to  call  on  her  and  whom  she  had  discouraged  for  just  this 
reason. 

But  never  had  she  suspected  that  she,  herself,  might  be 
guilty  this  way.  She  was  an  extremely  sensitive  girl  and 
even  the  thought  of  it  would  have  humiliated  her  terribly. 

Imagine  her  consternation,  therefore,  one  afternoon 
when  she  happened  to  overhear  several  girls  saying  exactly 
this  thing  about  her.     It  hit  her  like  a  thunderbolt'. 


That's  the  insidious  thing  about  halitosis  (unpleasant  breath).  You, 
yourself,  rarely  know  when  you  have  it.  And  even  your  closest  friends 
won't  tell  you. 

Sometimes,  of  course,  halitosis  comes  from  some  deep-seated  organic 
disorder  that  requires  professional  advice.  But  usually — and  fortu- 
nately— halitosis  is  only  a  local  condition  that  yields  to  the  regular  use 
of  Listerine  as  a  mouth-wash  and  gargle. 

It  is  an  interesting  thing  that  this  well-known  antiseptic  that  has  been 
in  use  for  years  for  surgical  dressings,  possesses  these  peculiar  properties 
as  a  breath  deodorant.  It  halts  food  fermentation  in  the  mouth  and 
leaves  the  breath  sweet,  fresh  and  clean.  So  the  systematic  use  of  Lis- 
terine puts  you  on  the  safe  and  polite  side.  You  know  your  breath  is 
right.  Fastidious  people  everywhere  are  making  it  a  regular  part  of 
their  daily  toilet  routine. 

Your  druggist  will  supply  you  with  Listerine.  He  sells  lots  of  it.  It 
has  dozens  of  different  uses  as  a  safe  antiseptic  and  has  been  trusted  as 
such  for  half  a  century.  At  this  time  of  year  Listerine  is  particularly 
valuable  also  in  combating  sore  throat.  Read  the  interesting  little  booklet 
that  comes  with  every  bottle. — Lambert  Pharmacol  Company,  Saint  Lonh, 
l     S  A. 


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I  CONTINUED  FROM  PAGE  78  ] 


THE  ETERNAL  STRUGGLE— Metro 
ALTHOUGH  this  picture  features  the 
■**  Northwest  Mounted  Police,  it  is  not  pro- 
gram stuff.  And  it  brings  forward  the  little 
French  actress,  Renee  Adoree,  in  a  new  light. 
As  the  tomboyish  girl,  Andree  Grange,  and  as 
the  awakening  woman  who  has  found  her  man, 
she  gives  a  nearly  perfect  performance.  The 
situation  is  unique,  for  the  Mounted  Policeman 
is  sent  out  to  bring  in  the  girl  who  has  con- 
fessed that  she  loves  him.  Circumstances  are 
complicated  by  the  appearance  of  another 
member  of  the  force — the  hero's  best  friend 
and  the  man  who  has  asked  the  girl  to  become 
his  wife.  The  triangle  reaches  dramatic  heights 
when  the  three  arc  stormbound  in  a  tiny  cabin 
in  the  woods.  Then  it  is  that  the  old  question 
of  love  or  honor  must  be  decided.  Honor  wins, 
eventually — and  the  three  come  back  to- 
gether, to  a  happy  ending.  Pat  O'Malley  and 
Earle  Williams  are  the  two  men.  The  rest  of 
the  cast  are  equally  good. 

SECOND-HAND  LOVE— Fox 

A  PICTURE  of  truly  rural  persuasion  with 
-**■  the  usual  b'gosh  and  chin  whisker  attach- 
ments. The  town  villain  has  designs  on  "the 
girl,"  who  is  also  cursed  with  a  wicked  hus- 
band. But  Buck  Jones  in  a  Charles  Ray  make- 
up happens  along  in  time  and  exhibits  his 
w.  k.  "deep  reverence  for  pure  American 
womanhood"  by  depositing  the  worthless  hus- 
band in  a  bed  of  quicksand.  Love  isn't  the 
only  thing  about  this  production  that'  ssecond- 
hand. 

THE  SIX-FIFTY— Universal 

A  WRECK  on  the  six-fifty  which  passes  the 
■**■  old  homestead  gives  a  discontented  coun- 
try wife  her  chance  to  have  a  fling  at  life  in  a 
big  city,  after  which  she  decides  there's  no 
place  like  home,  and  returns  to  her  husband. 
While  there  is  nothing  unusual  or  startlingly 
original  about  the  story,  it  has  sufficient 
variety  and  the  virtue  of  not  being  dull.  The 
acting  is  good  and  bad  in  spots. 

APRIL  SHOWERS— Preferred  Pictures 

COLLEEN  MOORE  and  Kenneth  Harlan 
spend  most  of  their  time  quarreling.  When 
there's  a  moment  to  spare,  the  young  man 
studies  for  a  job  on  the  police  force,  or  does  a 


little  prize-fighting.  A  lot  of  stuff  that  used  to 
be  sure-fire,  garnished  heavily  with  the  always 
popular  shamrock,  and  served  up  to  an 
audience  that  can't  afford  to  be  fussy.  Not 
very  much  of  a  picture. 

RED  LIGHTS— Goldwyn 

A  DELIGHTFUL  jumble  of  all  the  elements 
-**■  that  go  to  make  the  complete  mystery 
play.  Not  too  skilfully  done,  perhaps,  but  so 
amusing  that  one  scarcely  notices  the  rough 
edges.  The  daughter  of  a  railroad  president, 
kidnapped  in  infancy,  learns  of  her  parentage, 
and  is  immediately  menaced  by  a  mysterious 
force  that  threatens  her  life — and  comes  in  the 
form  of  a  talking  red  light.  The  mystery  is 
finally  solved  by  one  Sheridan  Scott,  a  crime 
deflector,  played  charmingly  by  Raymond 
Griffith.     Good  entertainment. 

WHERE  IS  THIS  WEST?— Universal 

"DILLED  as  a  rollicking  comedy  drama,  but 
-'-'not  half  so  mirth-provoking  as  it  sounds. 
Jack  Hoxie's  serious  efforts  are  always  funnier 
than  his  comedy  attempts.  The  lovely  Mary 
Philbin  is  quite  wasted  in  this  Western.  After 
her  work  in  "Merry-Go-Round"  she  deserves 
better  plays,  and  more  of  them!  We  always 
recommend  Jack  Hoxie  to  the  small  boys  of 
the  family.    The  smaller  the  better! 

THE  GUN  FIGHTER— Fox 

T-'HE  story  of  a  particularly  involved  feud — 
-*-  with  plenty  of  battles  that  range  all  the 
way  from  clan  affairs  to  hand-in-hand  encoun- 
ters, and  make  necessary  the  use  of  guns, 
knives  and  fists.  All  of  which  is  pie  for  William 
Farnum.  This  gentleman,  as  a  traveling  cow 
puncher,  happens  quite  by  chance  into  the 
feud-swept  area — and  fixes  matters  by  killing 
off  the  chief  villain  and  marrying  the  heroine. 

THE  LONE  STAR  RANGER— Fox 

HTOM  MIX  and  his  horse,  Tony,  go  through 
-*-  the  regular  series  of  adventures.  Jumping 
over  chasms,  and  racing  down  mountain  sides, 
they  defy  a  great  deal  of  death — with,  we 
fancy,  the  aid  of  some  clever  double  exposure. 
Finally  they  manage  to  break  up  the  band  of 
outlaws  and  win  the  beautiful  heroine — which 
doesn't  surprise  anyone.  A  foolproof  Zane 
Grey  Western.  The  younger  boys,  especially, 
will  like  it. 


Erery 


This  shows  the  interest  token  by  Photoplay  readers  in  the  cut  puzzle 
contest.  This  pile  of  mail  represents  the  replies  received  in  two  days.  Such  an 
enormous  number  of  answers  hare  been  received  that  Photoplay  has  been 
obliged,  to  engage  extra  space  in  its  New  York-  building  and  extra  help  to  care 
for  it.     The  winner  will  be  announced  in  the  .hi unary  issue  of  Photoplay 

advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


ioi 


THE  EAGLE'S  FEATHER— Metro 

A  RATHER  absurd  treatment  of  the 
"happy  ending"  mars  what  otherwise  is 
an  interesting  Western.  An  admixture  of  com- 
mon sense  would  have  helped.  The  story,  up 
to  near  the  end,  is  interesting  and  well  told,  the 
cattle  scenes,  especially  the  stampede,  being 
extremely  well  done.  Mary  Alden  does  a 
beautiful  piece  of  acting,  and  James  Kirkwood 
is  very  good.  The  photoplay  is  above  the 
average.    Good  entertainment,  up  to  last  reel. 

THE  FRENCH  DOLL— Metro 

\A  AE  MURRAY  again  boosts  the  price  of 
■"■"■chiffon — but  that's  about  all,  of  any  con- 
sequence, that  she  does  do.  She's  quite  too 
vivacious  and  youthful  in  this  story  of  a  for- 
tune-hunting French  family,  with  a  thriving 
business  in  fake  antiques.  As  the  charming 
daughter,  who  puts  over  the  sales  on  the 
nouveau  riche,  she  tries  to  be  alluring — and 
very,  very  much  the  Parisienne.  There's  the 
usual  happy  ending. 

SALOMY  JANE— Paramount 

"D  RET  HARTE'S  story  has  been  distorted  in- 
■*-'to  another  one  of  those  Westerns — bright- 
ened only  by  the  illuminating  presence  of 
Jacqueline  Logan.  A  really  splendid,  prac- 
tically all-star  cast  is  wasted  in  this  futile 
effort  to  better  a  literary  masterpiece.  The 
scenery,  however,  is  charming — and  Lefty 
Flynn's  cameo-like  profile,  against  the  majestic 
mountains,  is  something  to  look  at  at  least 
twice.    Not  for  the  children. 

BILL — Paramount 

"NJOT  a  story  at  all,  just  the  marvelous  char- 
•^-^acter  study  of  an  old  man  who  has  spent 
his  life  guiding  a  pushcart  through  the  stone- 
paved  streets  of  Paris.  A  kind  old  man  with  a 
simple  nature  and  a  groping  mind — who  gets, 
by  a  curious  freak  of  chance,  into  the  clutches 
of  the  law.  The  ways  of  justice  are  strange  to 
him  but,  with  only  a  dumb  sorrow  and  with  no 
resentment,  he  pays  for  a  crime  of  which  he 
was  innocent.  When  he  leaves  prison  he  finds 
that  his  reputation  has  vanished  but,  on  the 
point  of  suicide,  he  meets  friendship  at  the 
hands  of  a  small  boy  whom  he  has  befriended. 
This  is  the  sort  of  venture  that  the  screen  needs 
— a  cross-section  of  a  soul.  From  Anatole 
France's  "Crainquebille,"  with  Maurice  de 
Feraudy  giving  a  splendid  interpretation  of 
the  title  role. 

THE  POWER  DIVINE— Independent 
A  NOT/HER  Kentucky  feud.  Evidently  the 
•*  Vrhief  possessions  of  these  Blue  Ridgemoun- 
tuincers  are  Winchesters  and  a  keen  sense  of 
the  theatrical.  From  the  moment  Sally  Slocum 
lays  eyes  on  Bob  Harvey,  he's  a  married  man. 
Feud  or  no  feud.  The  picture  is  presented 
after  the  manner  of  a  third-rate  stock  com- 
pany. However,  whatever  it  does  or  doesn't 
do,  it  proves  that  where  there's  love  there's 
hope.  A  little  bit  of  this  sort  of  thing  goes  a 
long,  long  way. 

THE  SOCIAL  CODE— Metro 

A  "FIND  THE  WOMAN"  murder  melo- 
■*»■  drama  in  which  Viola  Dana  proves  that 
social  butterflies  have  souls.  She  has  always 
been  regarded  as  one  of  the  ingenues  born  kitten- 
ish, but  in  this  instance  she  only  achieves  it.  She 
is  consciously  babyish,  suddenly  artificial,  and 
frequently  coarse.  The  company,  barring 
Huntley  Gordon,  is  very  school-of-acting. 
One's  feeling  about  the  picture  is  that  it  should 
have  been  particularly  good,  and  isn't. 

THE  FAIR  CHEAT— 
Film  Booking  Offices 

■"PHE  story  of  a  society  girl  who,  in  order  to 
■*■  gain  her  father's  consent  to  marry  the  man 
that  she  loves,  agrees  to  support  herself,  under 
an  assumed  name,  for  a  year.  It  works  out,  of 
course,  that  the  man  meets  her,  as  a  hard- 
working little  Follies  girl,  and  falls  in  love  with 
her  new  personality.  And  then  everything 
ends  hanDily,  with  the  father  relenting. 


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102 


Photoplay  Magazine — Advertising  Section 


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Your  druggist  or  department  store  has 
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Rigaud  is  your  assurance  of  purity. 

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THE  CLEAN-UP—  Un iversal 

TTHIS  is  full  of  the  sort  of  fun  which  authors 
*■  are  wont  to  extract  from  small  town  hotels. 
barber  shops,  matrimony  and  Brooklyn.  It 
strongly  suggests  the  George  M.  Cohan  type  of 
"hurrah"  play  in  which  the  hero  with  only  a 
dollar  in  reel  one  comes  out  with  a  fortune 
and  "the  girl"  in  reel  five.  It's  just  "another 
one  of  those  things" — a  notable  case  of  Her- 
bert Rawlinson — that's  all. 

DESIRE— Metro 
A  TWISTED  attempt  to  prove  something — 
■**•  nobody  quite  knows  what!  Certainly  the 
members  of  the  cast,  who  go  heroically  through 
all  of  the  emotions,  cannot  understand  what 
it's  all  about.  The  old  idea  of  a  society  girl 
who  marries  her  chauffeur,  and  of  a  society 
man  who  finds  love  in  the  modest  flat  of  a 
music  teacher.  One  story  ends  in  tragedy,  the 
other  with  extreme  happiness — thereby  strik- 
ing an  average. 

THE  GRAIL— Fox 

TT  may  not  be  absolutely  indispensable,  but  a 
-Lplot  is  a  handy  thing  to  have  around  a  pic- 
ture. What  home  is  without  a  mother,  the 
average  movie  is  without  a  plot.  This  might 
have  been  just  another  one  of  those  Texas 
Rangers  sent  to  "get  his  man,"  but  George 
Scarborough,  the  author,  found  a  preventative 
for  dullness  and  saved  the  day — also  the  pic- 
ture which  is  well  played  and  made. 

THE  DESTROYING  ANGEL— 
Associated  Exhibitors 
A  SUCCESSION  of  the  wildest  improbabil- 
■**■  ities  constitute  the  plot.  But  the  picture 
is  such  frank  "movie  stuff"  that  it  manages  to 
be  interest-compelling  melodrama  after  the 
pattern  of  those  which  featured  Leah  Baird  in 
the  industry's  "infancy."  She  seems  to  have 
changed  not  at  all  since  then,  and  is  convincing 
as  the  heart-breaking  dancer  who  is  called 
"the  Destroying  Angel"  because  of  the  trage- 
dies which  befall  her  various  suitors.  It  is  a 
film  which  may  be  seen  without  weariness  or 
missed  without  regret. 

SHATTERED  REPUTATIONS— 
Lee  Bradford 

A  QUALITY  of  artificiality,  emphasized  by 
bad  acting,  prevents  this  film  from  rising 
above  mediocrity.  Such  plot  as  there  is  re- 
lates the  story  of  an  elderly  man  who  is  "father 
and  mother"  to  his  children.  The  girl  meets 
the  rich  man,  and  the  boy  "  the  apple  of  a  dot- 
ing father's  eye"  becomes  a  thief  and  lands 
over  the  w.  k.  precipice.  This  is  an  effective 
substitute  for  trional. 

RUNNING  WILD— Educational 

THE  noble  game  of  polo  is  made  the  excuse 
for  this  burst  of  comedy  speed.  A  love 
affair,  two  hated  rivals  who  play  on  opposite 
teams,  and  some  exhibitions  of  poor  riding. 
That's  all  there  is,  there  isn't  any  more. 
Another  Mermaid  Comedy. 

HIGH  LIFE— Educational 

A  MERMAID  Comedy,  starring  the  curly- 
headed  Lige  Conley.  There  are  some  of 
the  usual  funny  gags — but  for  the  most  part 
there  is  nothing  to  cause  any  undue  excite- 
ment. There's  the  usual  bootlegger  episode, 
with  a  mistake  in  identities  and  a  Hindu 
hypnotist  is  introduced  to  make  things  differ- 
ent. 

TEA  WITH  A  KICK— Associated 
Exhibitors 

HERE  is  a  chaotic  mass  of  incident  utterly 
without  sequence,  a  generous  helping  of 
horseplay,  and  a  lot  of  lugged-in  lines, 
allegedly  humorous,  the  perpetration  of  which 
must  have  been  a  severe  strain  on  somebody's 
funnybone.  And  all  because  the  poor  girl's 
father  is  in  prison  for  something  he  perfectly 
didn't  do.  Stuart  Holmes  turns  comedian  in 
this  movie,  an  equivalent  of  a  musical  comedy 
which  you  might  walk  a  block  to  see.  But 
don't  walk  two. 


DOES  IT  PAY?— Fox 
"pROM  the  point  of  view  of  the  vampire  of 
*■  the  piece,  it  does.  She  gets  fame,  money, 
jewels,  everything — and  all  because  she  lure>  a 
pudgy,  middle-aged  man  from  the  bosom  of  his 
family.  The  man,  however,  gets  into  all  sorts 
of  trouble  and  ends  by  losing  his  mind  and 
going  home  to  the  aforementioned  family. 
Not  nearly  so  funny  as  it  sounds,  and  it  won't 
do  for  children. 

THE  UNTAMABLE— Universal 

r^  LADYS  WALTON  plays  a  girl  who  is  suf- 
^-'fering — and  making  others  suffer — because 
she  is  a  victim  of  dual  personality.  Things  are 
looking  pretty  black  for  her,  until  the  hero 
appears  upon  the  scene — for  a  wicked  doctor 
is  encouraging  the  bad  personality — and  trying 
to  smother  the  good  one.  Love,  however,  finds 
a  \\a> — the  physician  meets  with  a  violent 
death  and  the  final  close-up  is  sweetly  affec- 
tionate.   Hardly  up  to  standard. 

THE  MIDNIGHT  ALARM— Vita&raph 

PVERYTHING  from  train  wrecks  to  fires, 
-'—'from  automobile  crashes  to  abductions. 
And  then  some!  Action  from  the  word  go, 
with  probability  thrown  to  the  four  winds. 
The  result  is  a  picture  that  will  keep  an  un- 
subtle  audience  leaning  forward — ready  to  clap 
at  the  appropriate  places.  Virtue  triumph?  in 
the  end,  and  gets  its  just  reward — vice,  leap- 
ing from  a  blazing  building,  is  crushed  upon  the 
sidewalk.    Great  stuff,  if  you  like  it. 

A  CHAPTER  IN  HER  LIFE— Universal 

HTHE  little  heroine  of  this  classic  is  in 
*■  the  running  with  our  old  friend  Elsie 
Dinsmore  —  misunderstood,  abused,  but 
always  sweetly  forgiving.  Although  the  child 
actress  who  takes  the  name  part  shows  flashes 
of  genius,  the  character  she  portrays  is  too 
saccharine  to  win  universal  sympathy.  The 
old  plot  of  a  hatred-filled  house  being  trans- 
formed into  a  mansion  of  love  by  the  touch 
of  a  tiny  hand. 

DAYTIME  WIVES— F.  B.  O. 

HTHE  good  little  secretary  shows  up  the  in- 
*•  efficient  wife — and  finds  time,  in  the  inter- 
ludes, to  be  a  lady  beautiful  to  the  small  chil- 
dren of  the  neighborhood  as  well.  A  demon- 
stration of  how  a  poor  breakfast  causes  the 
downfall  of  a  great  building  (by  putting  the 
foreman  in  a  bad  temper)  should  be  a  lesson 
to  all  married  women  who  don't  like  to  cook. 
A  picture  that  tries  to  preach. 

THE  SILENT  PARTNER— Paramount 

WHATEVER  Wall  Street  has  taken  from 
foolish  men  and  women,  it  has  given  back 
to  the  drama.  This  picture  narrowly  escape- 
developing  a  new  twist.  George  Coburn  falls 
victim  to  the  speculation  mania,  but  discovers 
that  his  wife's  extravagance  has  been  pre- 
tended in  order  to  save  money.  It  is  an  inter- 
esting story,  well  done  except  that  the  solution 
is  given  away  too  soon,  marring  the  suspense. 
Leatrice  Joy  is  excellent. 

BLINKY—  Universal 

HOOT  GIBSON  is  at  his  best  in  army  pic- 
tures— and  this  opus  of  the  U.  S.  cavalry  is 
the  finest  that  he's  had,  to  date.  As  the  meek 
son  of  an  old  fire-eating  colonel,  he  enters  the 
army — knowing  nothing  about  the  business  of 
being  a  soldier.  The  school  in  which  he  learns 
is  a  hard  one,  but  he  graduates  at  the  head  of 
the  class.    Laughter,  love  and  adventure! 

THREE  AGES— Metro 

BUSTER  KEATON  testifies  that  love  goes 
unchangingly  on  through  the  years — and 
gives  demonstrations  in  the  stone  age,  the 
Roman  era,  and  the  present.  There  are  some 
good  moments,  but  as  a  whole  the  picture  is 
dull  and  stolid.  Margaret  Leahy,  the  Tal- 
madges'  English  importation,  is  as  wooden  as 
a  chubby  little  blonde  girl  can  be.  And  Wal- 
lace Beery  is  wasted  as  the  comedy  villain.  No 
chance  for  uproarious  laughter! 


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Photoplay  Magazine — Advertising  Section 


103 


A  KNOCK  AT  THE  DOOR- 
Johnnie  Walker 


THE  star  of  the  month's  pictures  about 
nothing.  The  astounding  vacuity  of  this 
piece  may  be  understood  when  it  is  said  that, 
after  an  hour,  the  story  ends  just  where  it 
started  without  having  arrived  anywhere, 
proved  anything,  or  created  the  slightest  in- 
terest. Eddie  Polo  is  the  star.  The  author  was 
wise  enough  to  conceal  his  identity.  Unless 
you're  a  demon  for  punishment,  skip  this. 

HIS  LAST  RACE— Phil  Goldstone 

AN  astigmatic  bat  could  see  through  the 
scoundrelism  of  Robert  McKim  who  plots 
murder,  strokes  his  black  mustache,  proposes 
to  innocent  girls  in  black,  tries  to  wreck  the 
winning  horse,  and  does  other  dark  and  dread- 
ful deeds  in  this  good  old-fashioned  melodrama 
in  which  the  splendid  steed  wins  in  a  race 
none  the  less  exciting  for  having  been  done  in 
countless  other  plays  and  photo-plays.  It  will 
entertain  two  kinds  of  people:  those  who  like 
Bertha  M.  Clay,  and  those  who  don't. 

THE  FIGHTING  STRAIN— Steiner 

HPHIS  is  an  amateurish  hodgepodge,  starring 
*■  Neal  Hart  in  "America's  Pal."  It  is  the  sort 
of  entertainment  that  appeals  to  actors  whose 
idea  of  stardom  is  a  ninety  years'  lease  on  the 
center  of  the  stage,  and  contains  everything 
from  the  "claim  swindle"  right  down  to  the 
kitchen  stove.  It  will  give  you  a  chance  to 
witness  a  company  of  the  worst  actors  ever 
seen  on  land  or  sea.  Also  one  of  the  worst 
pictures. 

THE  SECRET  OF  LIFE— 
Principal  Pictures 

SOME  searching  inquiries,  via  a  magnifying 
glass,  and  a  new  process  of  motion  picture 
photography,  into  the  private  lives  of  the  bees, 
the  spiders,  and  the  ants.  These  studies  are 
extremely  interesting — especially  the  chapter 
that  has  to  do  with  the  ants.  The  climax  of 
intimate  detail  is  reached  with  picture  of  a  live 
flea  crawling  across  the  eye  of  a  baby  ant.  It 
isn't  the  only  climax,  either. 


Speaking  of  Pictures 

[  CONTINUED  FROM  PAGE  35  ] 

"Stop  right  there,"  cried  Abe.  "I  want  you 
to  know  that  our  comedies  are  not  laughing 
matters." 

Another  time  one  of  their  directors  wanted  to 
be  artistic  and  get  some  real  scenery  into  a 
comedy.  He  suggested  taking  the  company  to 
Catalina  Island,  near  Los  Angeles.  It  involved 
an  expense  of  several  hundred  dollars.  The 
result,  he  explained,  would  be  some  beautiful 
"shots"  of  rocks  and  surf  and  trees. 

The  Stern  boys  couldn't  see  the  advantage. 
They  ordered  him  to  do  the  work  in  the  nearby 
hills.  "What's  the  difference?"  said  Abe. 
"Why  spend  money  to  go  to  Catalina?  A 
rock's  a  rock  and  a  tree's  a  tree." 

X_TERR  ERNST  LUBITSCH  has  by  his 
■*■  -"-direction  of  Mary  Pickford  earned  a  high 
place  in  the  ranks  of  motion  picture  directors. 
He  was  responsible  for  the  German-made  Pola 
Negri  pictures,  and  we  have  been  watching  his 
work  in  this  country  closely.  It  is  easy  to  see 
what  a  tremendous  part  he  played  in  Mary 
Pickford's  production  of  "Rosita."  Incident- 
ally Mary  deserves  considerable  credit  for  her 
judgment  in  selecting  the  man  at  a  time  when 
many  were  doubtful  of  his  ability  to  adapt 
himself  to  American  methods  and  tempera- 
ments. 

TAMES  CRUZE,  the  Paramount  director,  is 
J  the  Babe  Ruth  of  pictures.  He  has  hit  home 
runs  in  his  last  three  pictures,  "The  Covered 
Wagon,"  "Hollywood,"  and  in  "Ruggles  of 
Red  Gap."  I  wonder  how  many  Photoplay 
readers  remember  him  as  the  handsome  actor 
in  the  old  "Million  Dollar  Mystery"  serial. 


A  seven  days  won- 
der in  1903,  but  al- 
ready outgrown  in 
1909-so  rapid  is  the 
march  of  electrical 
development. 


A  monument  to  courage 

This  machine  is  a  Curtis 
Steam  Turbine  Generator. 
Many  called  it  a  "piece  of 
folly"  in  1903.  It  was  the 
largest  turbine  generator 
ever  built  up  to  that  time. 


The  total  capacity  of 
the  steam  turbine 
generators  produced 
by  the  General  Elec- 
tric Company  is  equal 
to  the  working  power 
of  170  million  men. 
More  and  more  the 
hard  tasks  of  life  are 
being  transferred 
from  human  shoul- 
ders to  the  iron  shoul- 
ders of  machines. 


Today  General  Electric  Com- 
pany builds  steam  turbine 
generators  ten  times  as  big 
as  this  pioneer;  and  the  "piece 
of  folly"  is  preserved  as  a 
monument  to  courage. 


GENERAL  ELECTRIC 


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Not  in  the  Scenario 

[  CONTINUED  FROM  PAGE  62  | 


'urn1 

METRO  Ml  INGRAM  ST; 


th 

er 

fuuorite 


^  IJtamoncl  Special 
JdraVearlSliinipersari/ 

Pictured  below  is  the  Diamond 
Special,  one  of  several  Neck- 
laces created  to  mark  the  30th 
Anniversary  of  the  makers  of 
Deltah  Pearls. 

Pearls  selected  for  their  perfect 
matched  beauty,  fitted  with  a 
Diamond  set  White  Gold 
Safety  Clasp,  encased  in  an  ele- 
gant mirrored  Royal  Purple 
Jewel  Cabinet,  and  specially 
priced  for  the  occasion. 
Jewelers  everywhere  display 
the  Heller  30th  Anniversary 
Deltah  Necklaces,  Specially 
Made,  Specially  Cased,  Specially 
Priced,  j c 

(1893 -1923  J 

30  years  ago  in  a  modest  office  in  New 
York— Today  the  largest  business  of  its 
kind  in  the  World;  in  Paris,  Geneva, 
Providence,  Chicago,  Toronto  and  Los 
Angeles.  Such  is  the  history  of  L.  Heller 
&  Son,  Inc.,  famous  for  having  rivaled 
nature  by  producing  "Hope"  Sapphires 
and  "Hope"  Rubies— which  equal  the 
genuine  in  all  respects— and  yet  more 
famous  for  having  created  the 
supremely  magnificent 
Deltah    Pearls. 

L.  Heller  &  Son,  Inc 
358  Filth  Ave. 
New  York 


He  took  out  paper  and  pencil,  wrote  "What 
has  happened?    and  passed  it  to  the  man. 

The  brigand  looked  at  it  shook  his  head  and 
then  readied  for  the  pencil.  Painfully  and 
slowly,  for  his  hands  were  swollen  and  cramped, 
he  wrote  a  few  words. 

"Pure  wop,"  Dave  said  when  he  had 
glanced  at  it.  "And  none  of  us  knows  a  word 
of  that." 

lie  shook  his  head  and  handed  the  paper 
hack.  The  man  seemed  to  understand  and 
instantly  a  look  of  fear  came  to  his  savage  exes. 
He  glanced  toward  the  house  and  then  arose 
and  hobbled  away. 

The  others  followed.  Once  inside  the  deaf- 
mute  searched  quickly  through  the  place. 
At  last,  when  satisfied  that  the  cabin  was 
empty,  he  went  into  a  room  off  the  kitchen  and 
returned  with  a  rifle. 

The  four  men  surrounded  him  as  he  hobbled 
through  the  living  room.  Dave  Mann  tried 
futilely  by  signs  to  learn  his  purpose  but  he 
thrust  them  aside,  walked  through  the  front 
door  and  down  to  the  shore.  There  he  drew 
a  small  canoe  from  the  brush,  set  it  in  the 
water  and  paddled  away  toward  the  open  lake. 

CHAPTER  II 

WHEN  Dave,  Larry  and  the  canoemen  re- 
turned to  camp  with  their  story  of  the 
bound  deaf-mute  there  were  as  many  expla- 
nations, and  reactions,  as  there  were  people. 

Dave  alone  seemed  to  look  at  it  imperson- 
ally. His  excitement  was  greater  than  that  of 
anyone  else  but  his  interest  was  not  in  the 
mystery  so  far  as  it  concerned  the  unknown 
owner  of  the  palatial  cabin  and  the  girl.  He 
did  not  even  stop  to  think  of  what  might  have 
happened  to  them.  Details  would  hamper 
his  imagination. 

"Come  here,  Phil  "  he  called  to  his  assistant 
as  soon  as  he  landed.  "I've  got  the  whole 
thing  worked  out.  We  want  to  get  it  all 
down  tonight." 

He  led  the  way  to  his  tent  andbeforc  Larry 
had  told  half  the  story  to  the  others  the  "tap, 
tap,  tap"  of  Phil's  portable  typewriter  was 
heard. 

"But  Larry!"  Peggy  Dare  exclaimed. 
"What  has  happened  to  the  girl?" 

"I  don't  know  that  anything  has.  I  didn't 
see  a  sign  of  her  anywhere  " 

"I  did,"  Fay  Brainerd  said.  "This  after- 
noon when  we  were  in  her  room.  And  she 
had  been  there  just  a  little  while  before." 

"Been  there!"  several  exclaimed.  "How  do 
you  know  that?" 

"She  was  there  after  lunch,"  Fay  declared. 
"And  I  can  tell  you  something  more.  She's 
a  blond  with  long,  very  long,  reddish  gold 
hair." 

"Haw!  Haw!"  Roy  Quigley  burst  out 
scornfully.  "  Where'd  you  get  that  Hawkshaw 
stuff?" 

"Shut  up!"  commanded  Truman  Harlow, 
the  heavy.  "Fay's  right.  They  were  there 
after  lunch,  or  someone  was." 

"Trust  Tru  to  find  that  out,"  Peggy  laughed. 
"He  made  straight  for  the  kitchen  when  we 
went  into  the  house.  What  did  they  have  to 
eat?" 

"I  don't  know,"  Truman  snapped,  "but  one 
of  the  canoemen  told  me  there  were  some  coals 
in  the  kitchen  stove  and  that  the  dishes  hadn't 
been  washed  and  that  they  hadn't  been  stand- 
ing there  long.  But  what  about  the  hair, 
Fay?" 

"That  was  easy,"  she  answered.  "There 
was  a  cake  of  tar  soap  on  the  wash  stand  that 
hadn't  dried.  On  a  chair  was  a  bath  towel  she 
had  wound  her  hair  in  to  dry.  The  towel  was 
still  wet  and  there  were  two  long,  reddish  gold 
hairs  in  it." 

"Not  so  loud,"  Peggy  implored.  "If  Dave 
Mann  hears  us  he'll  start  all  over  again  and 
make  a  mystery  story  of  it.  We'll  never  get 
out  of  here." 

f  advertisement  in  PHOTOPLA1  MAGAZINE  is  guaranteed. 


"I  don't  think  there's  anything  funny  about 
this,"  Larry  declared  soberly.  "This  girl, 
whoever  she  i-.,  was  there  for  lunch.  No  one 
knows  anything  about  her.  I  was  asking  Hill 
Taylor  and  he  says  that  he  learned  of  her 
presence  from  Indians,  that  white  people  have 
never  seen  her." 

"And  now  we  add  a  brigand  1  ound  and 
gagged."  Peggy  said.  "The  answer  to  that  is 
going  to  keep  Dave  up  half  the  night." 

"The  answer's  easy,"  Roy  Quigley  inter- 
rupted. "The  brigand  is  an  Italian.  So  is 
the  old  man  who  owns  the  place.  The  brigand 
came  to  capture  the  girl,  or  may  be  rescue  her, 
and  the  fellow  who  works  for  the  old  man  got 
the  best  of  him  and  then  they  all  took  a  canoe 
and  beat  it.     I  bet  they  never  come  back." 

"  But  I'm  sure  the  deaf-mute  is  the  one  who 
works  for  the  old  man,"  Larry  objected 
"When  he  went  to  the  house  he  looked  all 
through  it  and  then  went  to  a  room  off  the 
kitchen  and  got  a  rifle.  lie  acted  as  if  he  weir 
at  home." 

"Of  course,"  Fay  added,  "and  what  hap- 
pened is  this.  Someone  came,  bound  the  deal- 
mute,  captured  the  girl  and  perhaps  killed  the 
old  man  and  then  carried  her  off.  The  deaf- 
mute  is  trying  to  find  her." 

"Don't  one  of  you  breathe  a  word  of  this  to 
Dave,"  Peggy  implored  them.  "  It  would  give 
him  ten  new  ideas  and  he'd  have  to  try  them 
all  out." 

"I  don't  see  where  you  find  anything  funny 
in  this,"  Larry  said.  "We're  the  only  white 
people  in  the  country  and  I  think  it's  up  to  us 
to  do  something." 

Silence  greeted  this  remark,  a  silence  that 
became  increasingly  significant  as  it  continued. 
Larry  caught  it  at  once  and  a  flush  crept  up 
from  beneath  the  collar  of  his  woolen  shirt. 

He  believed  he  knew  what  they  were  think- 
ing, that  since  Dave  Mann  had  lifted  him  from 
a  clerkship  in  the  office  of  a  big  lumber  com- 
pany to  almost  unprecedented  stardom  in 
the  movies  he  had  never  been  permitted  to  do 
anything  that  entailed  the  least  danger.  It 
was  even  rumored  that  Dave  carried  a  large 
policy  with  Lloyd's  and  around  the  lot  Larry- 
was  invariably  referred  to  as  "the  million 
dollar  beauty." 

Only  the  fact  that  Larry  was  no  different 
than  on  the  day  he  had  first  appeared  at  the 
Nonpareil  studio  had  saved  him  from  the 
slightly  veiled  thrusts  of  his  co-workers. 
Nothing  seemed  to  have  turned  his  head — 
success,  the  adoration  of  a  million  women  or  a 
fabulous  salary. 

"I  know  what's  caught  him."  Peggy  Dare 
drawled.     "It's  the  long  hair." 

LARRY  glanced  at  her  uncomfortably  be- 
cause he  did  not  understand  and  because  lie 
never  knew  what  Peggy  might  say. 

"I  imagine  it  would  be  a  relief  to  have  some- 
thing besides  a  shock-headed  flapper  groveling 
at  one's  feet,"  she  continued  when  she  caught 
his  wondering  expression.  "By  all  means  go 
over  and  rescue  her,  Larry.  But  you'll  have 
to  hurry.     It's  getting  dark." 

He  flushed  again,  but  only  Fay  caught  the 
angry  glint  in  his  eyes  as  he  arose  and  started 
toward  the  tent  door. 

"It  just  happens  that  I  am  going  over 
there,"  he  said.  "I  don't  know  what's  hap- 
pened but  I'll  find  out  if  they  need  help." 

"Wait  and  I'll  go  with  you,"  Quigley  an- 
nounced. 

But  they  did  not  leave  camp  that  night. 
Everyone  had  been  so  absorbed  in  a  discussion 
of  the  mystery  that  none  had  noticed  signs  of  a 
storm  that  broke  with  a  blinding  Hash  and  a 
concussion  from  which  the  very  earth  seemed 
to  rock.  Peggy  screamed  and  even  the  men 
were  awed. 

Another  flash  followed  and  another  roar  and 
then  the  wind  and  the  rain  came  in  a  crashing 
attack.  For  a  few  minutes  conversation  was 
out  of  the  question.     The  tent  was  alternately 


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io 


dark  and  brilliantly  lighted  and  each  moment 
the  wind  threatened  to  blow  the  flimsy  shelter 
away. 

Peggy  and  Fay  cowered  down  together, 
thoroughly  frightened.  Then  during  a  lull 
the  sound  of  a  typewriter  came  to  them. 
"Dave  doesn't  even  know  it's  raining,"  Roy 
Quigley  said. 

Everyone  laughed  and  from  the  relief  of 
laughing  seemed  to  gain  their  self-control. 

The  lull  was  only  momentary.  It  was  as  if 
the  storm  had  paused  to  catch  its  breath. 
The  thunder  and  the  lightning  ceased  and  the 
ferocity  of  the  wind  abated  yet  the  rain  drove 
('own  incessantly  and  with  a  vicious  note  that 
foretold  hours  of  deluge.  At  last  the  men  ran 
through  the  downpour  to  their  tents  and  the 
girls  were  left  alone. 

"Poor  Larry,"  Peggy  laughed.  "Even  the 
weather  won't  let  him  be  a  hero." 

"DUT  when  the  movie  people  were  aroused 
■'-'by  the  cook's  call  for  breakfast  in  the  morn- 
ing it  was  such  a  day  as  would  gladden  the 
heart  of  any  director  or  camera  man.  Dave, 
though  he  had  slept  only  three  hours,  was  up 
with  the  cook.  Phil  Sherwood  alone  showed 
the  effects  of  a  long  night  on  the  new  scenario. 

"No  gadding  over  coffee!"  Dave  cried  when 
breakfast  was  nearly  over.  "I  want  to  shoot 
that  whole  thing  over  there  today.  The  folks 
haven't  come  back  and  maybe  we  can  finish 
before  they  do." 

He  walked  down  to  the  canoes  and  Larry 
arose  quickly  and  followed. 

"Don't  you  think  we  ought  to  do  something 
about  those  people,"  he  began  hesitantly. 
"That  fellow  being  bound  and  gagged  and  the 
others  not — " 

"Larry,  I've  got  the  best  part  you  ever  had!" 
Dave  exclaimed  as  he  struck  the  actor  on  the 
shoulder.     "And  with  that  setting  and  all — " 

Larry  turned  impatiently. 

"Yes,  and  while  you're  talking  about  that 
picture  those  people  may  have  been  mur- 
dered," he  protested. 

"And  if  we  didn't  work  on  the  picture  what 
could  we  be  doing?"  Dave  demanded.  "A  lot 
of  help  we'd  be,  paddling  around  these  lakes. 
Besides,  things  like  that  don't  happen.  What 
we  want  to  do  now  is  to  get  that  stuff  before 
the  old  fellow  comes  back." 

He  turned  to  call  to  Peggy  and  Fay. 

"Hurry  up,  all  of  you.  Same  costumes  and 
make-up,  everybody.  Quig  and  I  will  go  over 
now  and  get  ready.  The  rest  of  you  pile  into 
another  canoe." 

Whatever  delay  Dave  Mann  may  have 
caused  by  changing  the  scenario,  inserting  new 
ideas  in  an  already  tight  story  and  apparently 
losing  all  sense  of  costs,  time  and  proportion, 
he  more  than  made  up  for  it  by  the  speed  with 
which  he  conducted  the  actual  work  of  filming. 

He  knew  exactly  what  he  wanted,  he  had 
assembled  a  capable  company,  he  had  a  per- 
sonality that  drained  his  people  of  the  last 
ounce  of  ability  and  then  imparted  a  large  part 
of  his  own,  and  he  made  pictures  that  filled  the 
theaters. 

And  the  strange  part  of  it  was  that,  despite 
his  apparently  reckless  methods  and  tem- 
peramental flights,  astonishingly  few  re-takes 
were  necessary  and  the  cutting  room  on  the 
Nonpareil  lot  was  known  as  a  loafing  place. 

When  the  big  freight  canoe  landed  the  prin- 
cipals, their  make-up  more  grotesque  than  ever 
in  such  surroundings,  Dave  was  ready.  He 
drove  them  to  their  places,  gave  a  few  brief 
instructions,  ran  them  through  a  quick  re- 
hearsal and  then  yelled: 

"Ready!     Get  set!     Go!" 

There  were  many  people  who  said  that 
Dave's  scorn  of  the  universally  accepted  terms 
of  the  studio  was  part  of  an  iconoclastic  pose. 
"Go,"  "twist  her,"  or  "slam  into  it,"  were 
synonyms,  but  it  is  doubtful  if  Dave  knew  that 
every  other  director  in  the  world  yells  "shoot!" 
vhen  he  wants  the  camera  man  to  turn  the 
crank.  A  real  creative  genius  is  too  busy  to 
po  e  and  Dave  Mann  was  never  idle. 

It  was  the  first  actual  work  that  had  been 
done  since  the  party  had  left  the  New  Jersey 


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studio  nnd  Dave  rushed  things  through  with 
astonishing  speed.  He  was  like  an  orchestra 
leader  of  the  eccentric  type.  Dancing  behind 
the  camera,  he  enacted  the  role  and,  monkey 
on  a  string  though  he  appeared  to  be,  he  man- 
aged in  some  way  to  bring  out  hidden  qual- 
ities in  his  people  and  to  convert  what  ap- 
peared to  be  a  burlesque  into  a  finished  piece 
of  work. 

Half  the  forenoon  wore  away  and  Dave  con- 
tinued to  drive  without  cessation.  The  canoe- 
men  and  camp  helpers,  none  of  whom  had  ever 
seen  a  picture  in  the  making,  stood  in  a  spell- 
bound group  at  a  little  distance.  The  people 
in  the  picture  were  as  absorbed  as  Dave  him- 
self, for  constant  attention  was  required  if 
they  were  to  keep  pace  with  his  dynamic 
spirit. 

"Now  comes  the  big  scene!"  he  tried  at  last. 
"Larry  and  Fay  alone.  Peggy!  You  and 
Harlow  can  go  inside  and  take  a  rest.  Stand 
up  there  on  the  steps,  Fay.  Your  brother 
hasn't  returned.  You  fear  he  would  go 
through  the  Wolf-jaw  rapids  in  his  eagerness 
to  get  back  quickly.  You  have  always 
dreaded  them.  You  picture  what  must  have 
happened.  You  think  he's  dead.  At  last 
you  wilt  down  there  on  the  steps,  confident  the 
rapids  got  him. 

"  And  then.  Larry,  you  come  in  and  find  her. 
You  arouse  her  and  she's  so  glad  to  see  you 
alive  she  forgets  all  about  the  bad  news  she 
has  for  you.  Understand?  All  ready  now. 
There!     Twist  her,  Quig." 

Fay  Brainerd  was  an  actress.  Though  they 
had  just  heard  the  story,  though  they  knew 
what  it  all  meant,  though  Dave  Mann  danced 
and  swayed  beside  the  camera,  though  Fay 
did  not  speak  a  word,  the  woodsmen  were  spell- 
bound. They  stood  gawking  at  the  girl,  fas- 
cinated by  her  pantomime,  unconscious  of  their 
surroundings. 

And  through  them,  blustering,  shaking  his 
long  white  hair  in  his  fury,  burst  a  little  old 
man.  He  rushed  forward  to  Dave  Mann, 
grasped  his  shoulder  and  whirled  him  around. 

"Stop  it!"  he  cried  in  a  high,  shrill  voice. 
"How  dare  you?  Do  you  know,  sir,  that  this 
is  my  home?" 

Dave  took  one  glance  at  the  interloper, 
shook  off  his  hand  and  turned  back. 

"Great,  Fay!  Keep  going,  Quig!  Ready, 
Larry!  Oh,  stop  it!  Stop  it!  Don't  you  see 
you  are  ruining  this  picture?  Twist  her, 
Quig.     Now,   Larry!     Into  it!" 

But  Larry  did  not  move.  He  was  staring 
past  Dave  and  the  stranger. 

"Get  away  from  my  place!"  the  old  man 
cried,  and  his  fury  was  so  great  it  seemed  that 
he  would  attack  the  director. 

"Just  a  minute!"  Dave  begged  without 
turning  around.  "Larry!  Into  it!  What's 
the  matter,  man?" 

Larry  was  continuing  "to  stare  and  remain 
wholly  unmindful  of  his  director's  commands. 

"Get  off  my  place!"  the  old  man  shouted. 
"  Are  you  barbarians  that  you  think  you  can 
do  this  to  me?  Get  off,  I  tell  you,  or  I'll  drive 
you  off." 

Larry's  action  had  brought  Dave  out  of  his 
absorption  and  for  the  first  time  he  realized 
who  the  white-haired  old  man  was.  He  turned 
to  confront  him,  but  instantly  he,  too,  was  held 
by  the  vision  that  had  distracted  Larry. 

AND  vision  it  was.  The  girl  stood  back  of 
the  old  man,  watching  the  tableau  with  an 
amused  expression  and  just  a  suggestion  of 
wonder  in  her  great,  hazel  eyes. 

She  was  tall  and  slender,  but  round  and  with 
an  amazingly  deep  chest,  facts  which  permitted 
her  to  wear  a  light  flannel  shirt  and  a  plain 
khaki  skirt  without  anyone  being  conscious  of 
her  clothing. 

So  glorious  a  creature  was  she  her  hair, 
marvelous  in  itself,  failed  to  be  anything  more 
than  a  detail  in  the  picture.  Fay  Brainerd 
had  said  it  was  long,  but  she  had  not  guessed 
that  it  fell  to  her  knees,  and  she  had  said 
it  was  reddish  gold  without  suggesting  the 
elusive  glints  in  it. 

"Good     God!"     Dave     Mann     whispered 


reverently.  "And  buried  in  this  hole!  Girl, 
what  are  you  doing  here?  Why  aren't  you 
in  pictures?  You're  robbing  the  public 
You're  robbing  yourself.  Quig!  But  I  don't 
need  any  tests.  I  know  'em  when  I  see  'em. 
She's  perfect." 

He  had  stepped  to  one  side  to  get  a  profile, 
but  as  he  finished  speaking  the  old  man 
dashed  forward,  shaking  both  fists. 

"Such  insolence!  Such — such — Get  out  of 
this  before  I  strike  you.  Get  out,  I  tell  you, 
before  I — " 

He  stopped  and  whirled  toward  the  house. 
Slashing,  crashing,  there  came  from  the  open 
windows  the  sound  of  a  sudden,  syncopated, 
jazz-fiend  attack  on  the  grand  piano  in  the 
living  room.     Peggy  Dare  was  resting. 

The  old  man  became  apoplectic.  He  clapped 
both  hands  to  his  ears  and  shrieked.  His  face 
was  so  red  it  seemed  purple  beneath  the  long, 
white  hair. 

"Stop  it!  Stop  it!"  he  cried.  "It's  sacri- 
lege! Sacrilege!  Have  you  people  no  respect 
for  anything?  Marguerite!  Close  your  ears! 
Don't  listen.  After  all  these  years  that  I 
should  have  to — " 

He  stopped  as  if  overcome  and  then  sud- 
denly he  dashed  up  the  steps,  across  the  veran- 
da and  into  the  living  room  where  the  un- 
conscious Peggy,  swaying  on  the  bench  to  the 
rhythm  of  Tin  Pan  Alley's  latest,  was  pound- 
ing out  the  barbarous  and  yet  lilting  and 
sensuous  refrain. 

"Stop  it!"  the  old  man  shrieked.  "My 
God!    On.  my  piano!    You  have  defiled  it." 

"L_TE  ran  forward  and,  grasping  Peggy  by  the 
*■  -"-shoulders,  dragged  her  away  and  slammed 
down  the  lid. 

"Such  insolence!  Such  audacity!  I  never 
believed  it  possible.  Get  out  of  my  house  with 
your  barbarian  ways  and  the  barbarian  thing 
you  think  is  music." 

Peggy  Dare's  face  and  name  were  known  to 
practically  every  man,  woman  and  child  in  the 
United  States  and  never,  not  even  at  the  hands 
of  a  bull  dog  director,  had  she  received  such 
treatment. 

"Barbarian!"  she  cried.  "Insolence!  Au- 
dacity!   Well,  of  all  the—" 

She  stopped,  speechless  because  of  her  rage, 
but  in  a  moment  she  found  her  tongue  and 
began.  It  was  scorching,  so  scorching  the  old 
man  drew  back  in  astonishment.  His  face 
became  as  white  as  his  hair  while  she  lashed 
him,  but  before  he  could  break  forth  in  protest 
Dave  and  the  other  members  of  the  company 
entered  the  room. 

"Lay  off  that,  Peg,"  he  commanded  harsh- 
ly.   "Do  you  want  to  spoil  everything  for  us?" 

He  thrust  her  to  one  side  and  confronted  the 
old  man. 

"My  name  is  Mann,  David  Mann  of  the 
Nonpareil  Film  Corporation,"  he  began  defer- 
entially but  with  a  note  of  certainty  that  the 
two  names  would  bring  instant  and  equal 
deference.  "I  am  very  sorry  to  have  upset 
you  so,  but  I  was  quite  carried  away  by  this 
wonderful  home  of  yours.  I  have  never  seen 
anything  like  it  and  I  simply  had  to  have  it  in 
a  picture." 

"A  picture!"  the  old  man  exclaimed.  "I 
wouldn't  care  if  you  took  a  picture  of  the  place. 
But  all  that  foolishness  out  in  front,  that 
dancing  around,  that  painted  girl  on  the  steps, 
and  this — this  painted — this  painted  woman 
here  defiling  my  piano  with  such  depraved 
sounds— Out!  Out!  All  of  you!  Off  my 
place  before  I  throw  you  off." 

He  seemed  to  have  lost  control  of  himself 
and  dashed  back  and  forth,  flinging  his  long 
white  locks  about  his  head  and  shaking  his 
clenched  fists. 

"Painted  woman,  eh?"  Peggy  hissed  as  she 
started  forward. 

"Stop  that!"  Dave  commanded  sternly. 
"Keep  away.  I'll  handle  him.  We've  got 
to  go  on  with  this  stuff.  Take  her  out,  one  of 
you  fellows." 

"Now,  sir,"  and  he  turned  back  to  the 
owner  of  the  house,  "if  you  will  permit  me  to 
explain — " 


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I07 


"Explain!  Explain  such  insolence!  I  don't 
want  to  hear  you.  Out  you  go!  You  have 
forfeited  all  righ*.     You  can  explain  nothing.' 

He  abandoned  himself  to  his  fur  :  again, 
expressing  it  with  quivering  arms  and  tossing 
head  as  he  stormed  up  and  down  the  room. 

"And  Angelo!"  he  cried  at  last.  "Where  is 
he?  What  have  you  done  to  him?  Why  did 
he  let  you  do  this?" 

"Let  me  explain,"  Dave  pleaded. 

"No!     No!     Nothing!     Only  leave!" 

The  girl  who  had  accompanied  him  slipped 
through  the  crowd  to  his  side. 

"Maestro,"  she  said  in  a  low  voice,  "there 
is  no  need  to  distress  yourself  so.  The  man 
wants  to  tell  you  something  and  perhaps  it 
would  be  well  to  listen." 

"But  cara  mia\  See  what  they  have  done. 
In  my  house!    And  on  my  piano!" 

"But  perhaps  Angelo  misunderstood  and 
let  them  come.  You  know  he  cannot  hear  or 
read  English." 

"Angelo  would  never  let  them  enter  unless 
he  were  dead." 

"I  beg  your  pardon,"  Dave  said,  addressing 
the  girl,  "but  is  he  referring  to  the  chap  who 
looks  like  a  brigand,  a  deaf  and  dumb  man?" 

"Yes,  he  is  an  old  retainer  of  the  maestro's." 

"Listen,  sir,"  Dave  said  sternly  to  the  old 
man.  "We  arrived  here  late  yesterday  after- 
noon. The  place  was  deserted.  We  searched 
and  could  not  find  anyone.  Last  night  we 
camped  across  the  bay.  After  supper  two  of 
the  canoemen  came  over  with  me  and  they 
found  a  man  bound  and  gagged  in  an  out- 
building. We  released  him,  but  he  could 
neither  speak  nor  write  English  and  as  soon 
as  he  could  stand  he  went  into  the  house,  took 
a  rifle  and  paddled  away  down  the  lake." 

"Bound  and  gagged!"  the  old  man  repeated 
"What  nonsense  is  this?" 

Before  Dave  could  reply  there  was  a  com- 
motion at  the  door  and  the  deaf-mute  burst 
through  the  group.  He  ran  forward  and  went 
down  on  his  knees  before  the  old  man  and  the 
girl.  There  were  tears  in  his  eyes  and  his 
attitude  was  not  unlike  a  fawning  dog's. 

The  old  man's  fingers  seemed  fairly  to 
twinkle  as  he  held  up  his  right  hand  and  in- 
stantly the  deaf  mute  leaped  to  his  feet. 
While  he  communicated  his  thoughts  with  one 
hand  he  used  his  other  arm,  his  whole  body, 
his  head  and  his  mobile  features  as  emphasis. 

BOTH  the  girl  and  the  old  man  watched  him 
intently,  the  girl's  eyes  widening  with  horror 
while  her  companion's  face  became  set  and 
cold.  The  pantomime  continued  for  a  mo- 
ment and  then  the  owner  of  house  turned  to 
Dave.  "Now,"  he  began  slowly  and  calmly, 
"  I  will  ask  you  to  take  your  people  and  leave 
my  home." 

He  was  no  longer  excited  and  there  was  a 
dignity  and  firmness  in  his  manner  which  had 
been  lacking  before  and  therefore  became 
doubly  impressive. 

"But  my  dear  sir,  you  are  in  danger  here," 
Dave  protested.  "  Someone  has  attacked 
your  place  and  bound  your  servant.  If  there 
is  anything  we  can  do — " 

"There  is  nothing,  and  there  is  no  danger. 
Some  petty  thieves  have  come.  I  do  not  fear 
them,  now  that  we  are  on  our  guard,  and  I 
doubt  if  they  return." 

"But  if  you  will  permit  us  to  remain,"  Dave 
pleaded.  "We  will  do  no  damage.  Another 
hour  will  finish  our  work.  I  assure  you  that 
it  is  highly  important  that  we — " 

"No!  You  came  unbidden.  You  did  what 
you  had  no  right  to  do.  You  have  desecrated 
my  home.  You  have  committed  an  unpardon- 
able sin.     Leave  at  once." 

He  stood  there  with  his  head  thrown  back 
and  in  his  voice  was  an  unmistakable  note  of 
authority.  One  arm  was  thrust  out  toward 
the  door.  Dave  Mann  looked  at  him  for  an 
instant  as  he  stood  there  beside  the  girl  and 
then  to  the  surprise  of  every  member  of  his 
company  he  bowed  slightly  and  turned  away. 

"Back  to  camp,  all  of  you,"  he  commanded, 
and  followed  them  out  through  the  door. 

[  END  OF  PART  ONE  ] 


• 


111 


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Casts  of  Current  Photoplays 

Complete  for  every  picture  reviewed  in  this  issue 


"THE  WHITE  SISTER"— Inspiration— 
From  the  novel  by  F.  Marion  Crawford. 
Director,  Henry  King.  The  cast:  Angela 
Chiaromonte,  Lillian  Gish;  Captain  Giovanni 
Sevcri,  Ronald  Colman;  Marchesa  di  Mala, 
Gail  Kane;  Monsignor  Saracincsca,  J.  Barney 
Sherry;  Prince  Chiaromonte,  Charles  Lane; 
Madame  Bernard,  Juliette  La  Violette;  Pro- 
fessor Ugo  Severi,  Sig.  Serena;  Filmorc  Durand, 
Alfredo  Bertone;  Count  del  Fcrice,  Ramon 
Ibanez;  Alfredo  del  Ferice,  Alfredo  Martinelli; 
Mother  Superior,  Carloni  Talli;  General 
Mazzini,  Giovanni  Vicolla;  Alfredo's  Tutor, 
Antonio  Barda;  Solicitor  to  the  Prince,  Giacomo 
D'Attino;  Solicitor  to  the  Count,  Michele 
Gualdi;  Archbishop,  Giuseppe  Pavoni;  Pro- 
fessor Torricelli,  Francesco  Socinus;  Bedouin 
Chief,  Sheik  Mahomet;  Lieutenant  Rossini, 
James  Abbe;  Commander  Donato,  Duncan 
Mansfield. 

'  "IF  WINTER  COMES"— Fox— From  the 
novel  by  A.  S.  M.  Hutchinson.  Director, 
Harry  Millarde.  Photography  by  Joseph 
Ruttenberg.  The  cast:  Mark  Sabre,  Percy 
Marmont;  Hapgood,  Arthur  Metcalf;  Twyning, 
Sidney  Herbert;  Harold  Twyning,  Wallace 
Kolb;  Rev.  Sebastian  Fortune,  Wm.  Riley 
Hatch;  Nona,  Lady  Tybar,  Ann  Forrest;  Lord 
Tybar,  Raymond  Bloomer;  Miss  Winfield, 
Virginia  Lee;  "Humpo,"  Leslie  King;  Old 
Bright,  George  Pelzer;  Coroner,  James  Ten 
Brook;  Mabel,  Margaret  Fielding;  Effie,  Gladys 
Leslie;  High  Jinks,  Dorothy  Allen;  Low  Jinks, 
Eleanor  Daniels;  Mrs.  Perch,  Eugenie  Wood- 
ward; Young  Perch,  Russell  Sedgwick. 

"THE  HUNCHBACK  OF  NOTRE 
DAME  "—Universal — Story  by  Victor  Hugo. 
Adapted  by  Perley  Poore  Sheehan.  Scenario 
by  Ed.  T.  Lowe,  Jr.  Director,  Wallace  Wors- 
ley.  Photography  by  Robert  Newhard.  The 
cast:  Quasimodo,  Lon  Chaney;  Esmeralda, 
Patsy  Ruth  Miller;  Phoebus  de  Chateaupers, 
Norman  Kerry;  Madame  de  Gondelaurier,  Kate 
Lester;  Fleur  de  Lys,  Winifred  Bryson;  Don 
Claude,    Nigel   de    Brulier;   Jekan,    Brandon 


Hurst;  Chpin,  Ernest  Torrence;  King  Louis 
XI,  Tully  Marshall;  Mons.  Neufchatel,  Harry 
Van  Meter;  Grincoire,  Raymond  Hatton; 
Mons.  Le  Torteru,  Nick  de  Ruiz;  Marie, 
Eulalie  Jensen;  Charmolie,  Roy  Laidlaw; 
C/iarmolic's  Assistant,  W.  Ray  Meyers;  Jose- 
plius,  William  Parke,  Sr.;  Esmeralda's  Mother, 
Gladys  Brockwell. 

"ROSITA" — United  Artists  —  Story  by 
Norbert  Falk.  Adapted  by  Edward  Knoblock. 
Director,  Ernst  Lubitsch.  Photography  by 
Charles  Rosher.  The  cast:  Rosita,  Mary  Pick- 
ford;  The  King,  Holbrook  Blinn;  The.  Queen, 
Irene  Rich;  Don  Diego,  George  Walsh;  The 
Prime  Minister,  Charles  Belcher;  Prison  Com- 
mandant, Frank  Leigh;  Rosita's  Mother,  Mme. 
Mathilde  Comont;  Rosita's  Father,  George 
Periolat;  Big  Jailer,  Bert  Sprotte;  Little  Jailer, 
Snitz  Edwards;  Serving  Maid,  Mme.  de  Boda- 
mere;  Rosita's  Brothers,  Philippe  De  Lacy, 
Donald  McAlpin;  Rosita's  Sister,  Doreen 
Turner. 

/ 

"WHY  WORRY? "— Pathe— Story  by  Sam 
Taylor.  Directors,  Sam  Taylor  and  Fred  New- 
meyer.  The  cast:  Harold  Van  Pelham,  Harold 
Lloyd;  The  Nurse,  Jobyna  Ralston;  Colosso, 
John  Aasen;  Herculco,  Leo  White;  Jim  Blake, 
James  Mason;  Mr.  Pipps,  Wallace  Howe. 

"THE  GOLD  DIGGERS"— Warner 
Brothers — Based  upon  the  play  by  Avery 
Hopwood.  Adapted  by  Grant  Carpenter. 
Director,  Harry  Beaumont.  The  cast:  Jerry 
LaMar,  Hope  Hampton;  Stephen  Lee,  Wynd- 
ham  Standing;  Mable  Munroe,  Louise  Fazenda; 
Topsy  St.  John,  Gertrude  Short;  James  Blake, 
Alec  Francis;  Barney  Barnelt,  Jed  Prouty; 
Eleanor  Montgomery,  Arita  Gillman;  Trixie 
Andrews,  Peggy  Brown;  Mrs.  La  Mar,  Mar- 
garet Seddon;  W ally  Saunders,  Johnny  Harron; 
Violet  Dayne,  Ann  Cornwall;  Dolly  Baxter, 
Edna  Tichenor;  Gypsy  Montrose,  Frances  Ross; 
Sadie,  Marie  Prade;  Cissie  Gray,  Louise  Beau- 
det. 


Betty  Compson  is  in  England,  making  a  picture  called  "Royal  Oak."    She 

—and  her  terrier — are  at  an  old  inn  at  East  Grimstead,  where,  to  judge  by 

Jimmy  Abbe's  photograph  of  her,  atmosphere  "is  the  thing  they  ain't  got 

nothing  else  but,"  as  Octavus  Roy  Cohen-might  say 

Every  advertisement  In  PHOTOPLAY  MAGAZINE  la  guaranUed 


Photoplay  Magazine — Advertising  Section 


"RUGGLES  OF  RED  GAP"— Paramount 
— From  the  play  and  novel  by  Harry  Leon 
Wilson.  Adapted  by  Anthony  Coldeway. 
Director,  James  Cruze.  Photography  by  Karl 
Brown.  The  cast:  Ruggles,  Edward  Horton; 
Cousin  Egbert,  Ernest  Torrence;  Mrs.  Kenner, 
Lois  Wilson;  Emily  Jiidson,  Fritzi  Ridgeway; 
Jeff  Tuttle,  Charles  Ogle;  Mrs.  Effie,  Louise 
Dresser;  Mrs.  Belknap- J ackson,  Anna  Lehr; 
Mr.  Belknap-Jackson,  William  Austin;  Ma 
Pettingill,  Lillian  Leighton;  Earl  of  Brinstead, 
Thomas  Holding;  Hon.  George,  Frank  Elliott; 
Herr  Schwilz,  Kalla  Pasha;  Sam  Hcnskaw,  Sid- 
ney Bracey;  Senator,  Milt  Brown;  Judge 
Ballard,  Guy  Oliver. 

"STRANGERS     OF     THE     NIGHT"— 

Metro — From  the  stage  play  by  Walter 
Hackett.  Adaptation  by  Bess  Meredyth. 
Director,  Fred  Niblo.  Photography  by  Alvin 
Wyckoff.  The  cast:  Ambrose  Applejohn,  Matt 
Moore;  Poppy  Faire,  Enid  Bennett;  Anna 
Valeska,  Barbara  La  Marr;  Borolsky,  Robert 
McKim;  Mrs.  Agatha  Whatacoinbe,  Mathilde 
Brundage;  Mrs.  Horace  Pengard,  Emily  Fitz- 
roy;  Mr.  Horace  Pengard,  Otto  Hoffman;  Lush, 
Thomas  Ricketts. 

"THE  CHEAT"— Paramount— Story  by 
Hector  Turnbull.  Adapted  by  Ouida  Bergere. 
Director,  George  Fitzmaurice.  Photography 
by  Arthur  Miller.  The  cast:  Carmelita  de 
Cordoba,  Pola  Negri;  Dudley  Drake,  Jack  Holt; 
Claude  Mace,  alias  Prince  Rao-Singh,  Charles 
De  Roche;  Lucy  Hodge,  Dorothy  Cumming; 
Jack  Hodge,  Robert  Schable;  Horace  Drake, 
Charles  Stevenson;  Duenna,  Helen  Dunbar; 
Attorney  for  Defense,  Richard  Wayne;  District 
Attorney,  Guy  Oliver;  Judge,  Edward  Kimball. 

/'"TO  THE  LAST  MAN  "—Paramount— 
Story  by  Zane  Grey.  Scenario  by  Doris 
Schroeder.  Director,  Victor  Fleming.  Photog- 
raphy by  James  Howe.  The  cast:  Jean, 
Richard  Dix;  Ellen  Jorth,  Lois  Wilson;  Colter, 
Noah  Beery;  Gaston  Isbel,  Robert  Edeson; 
Blue,  Frank  Campeau;  Daggs,  Edward  Brady; 
Lee  Jorth,  Fred  Huntley;  Simm  Bruce,  Jean 
Palette;  Guy,  Lenard  Clapham;  Bill,  Guy 
Oliver;  Mrs.  Guy,  Winifred  Greenwood. 

S  "DULCY"— First  National— From  the 
play  by  Geo.  S.  Kaufman  and  Marc  Connelly. 
Adapted  by  John  Emerson  and  Anita  Loos. 
Director,  Sidney  A.  Franklin.  Photography 
by  Norbert  F.  Brodin.  The  cast:  Gordon 
Smith,  Jack  Mulhall;  Mr.  Forbes,  Claude  Gil- 
lingwater;  Mrs.  Forbes,  May  Wilson;  Billy 
Parker,  Johnny  Harron;  Angela  Forbes,  Anne 
Cornwall;  Vincent  Leach,  Andre  de  Beranger; 
Schuyler  Van  Dyke,  Gilbert  Douglas;  Blair 
Patterson,  Frederick  Esmelton;  Matty,  Dulcys 
companion,  Milla  Davenport;  and  DULCY , 
Constance  TaLmadge. 

"DRIFTING"  —  Universal  —  From  the 
play  by  John  Colton.  Adapted  by  Tod  Brown- 
ing and  A.  P.  Younger.  Director,  Tod  Brown- 
ing. Photography  by  William  Fildew.  The 
cast:  Cassie  Cook,  Lucille  Preston,  Priscilla 
Dean;  Capt.  Arthur  Jarvis,  Matt  Moore;  J  ides 
Re  pin,  Wallace  Beery;  Murphy,  J.  Farrell 
McDonald;  Madame  Polly  Voo,  Rose  Dione; 
Molly  Norton,  Edna  Tichenor;  Dr.  Li,  William 
Mong;  Rose  Li,  Anna  Mae  Wong;  Billy  Hep- 
bum,  Bruce  Guerin;  Mr.  Hepburn,  William 
Moran;  Mrs.  Hepburn,  Mare  de  Albert;  Chang 
Wang,  Frank  banning. 

"WHERE  THE  NORTH  BEGINS"— 
Washes  Brothers — Adapted  by  Fred  Myton 
and  Chester  M.  Franklin.  Director,  Chester 
M.  Franklin.  The  cast:  Felice  McTavish, 
Claire  Adams;  Gabriel  Dupre,  Walter  McGrail; 
Shad  Galloway,  Pat  Hartigan;  Marie,  Myrtle 
Owen;  The  Fox,  Charles  Stevens;  Scotty 
McTavish,  Fred  Huntley;  The  Wolf-Dog,  Rin- 
Tin-Tin. 


IO9 


"THE     SILENT     COMMAND  "- 
Story  by  Rufus  King.     Director,  J. 


-Fox- 
Gordon 


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[2ive  your  hands   the  same  exquisite  care 

^5           you   give  your  face  —  and  see  how 

youthful  and  lovelyyou  can  keepthem 

j 

— 

Housework  never  yet  spoiled 
the  beauty  of  a  woma^s  hands 


NEGLECT — lack  of  care — may  spoil 
your  hands;  housework  never  will, 
if  you  use  the  right  safeguards. 

The  most  beautiful  hands  in  the  world 
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They  have  the  same  disciplined  beauty 
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woman  more  truly  than  her  face. 

Don't  let  superficial  marks  of  neglect — 
roughness,  redness,  coarseness  of  the  skin 
— spoil  the  underlying  beauty  of  your 
hands!  Keep  the  skin  smooth  and  white 
and  youthful  looking— and  then  see  what 
distinction  they  really  have. 

For  women  who  give  their  hands 
hard  use 

THOUSANDS  of  women  today  have  found 
a  way  to  keep  their  hands  smooth  and 
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"ROUGED  LIPS"— Metro— From  the 
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"PURITAN  PASSIONS"— W.  W.  Hod- 
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man  and  Frank  Tuttle.  Director,  Frank 
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"THE  CLEAN-UP  "—Universal—  Story 
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John  Bowers;  Madalyn  Harlan,  Estelle  Taylor; 
Jerry  Ryan,  David  Butler;  Rud  Reisner, 
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Director,  Colin  Campbell.  The  cast:  Chic 
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James  Gordon;  John  Trammel,  Jack  Rollins; 
Mrs.  Trammel,  Frances  Hatton;  Susie  Tram- 
mel, Alma  Bennett;  Sam  Hervey,  Leon  Barry. 

[  CONTINUED  ON  PAGE  132  ] 


'Be  Yourself" 


CONTINUED  FROM  PAGE   73  ] 


human  being's  right  to  get  tired  now  and  then, 
and  a  woman's  right  to  choose  who  should  paw 
over  me,  I  found  myself  going  out  the  gate  the 
wrong  way  oftener  and  oftener,  and  it  began 
to  look  like  I  might  use  up  all  the  jobs  in  New 
York  before  I  found  an  employer  that  would 
know  that  I  was  human  but  not  loo  human 
.  .  .  Two  or  three  of  my  late  bosses  had  spoken 
feelingly  of  my  temperament  when  firing  me, 
and  that  gave  me  an  idea.  Temperament. 
That  was  what  all  artists  had.  Maybe  I  was 
an    artist!  .  .  . 

"You  know  the  rest.  ...  I  picked  on  the 
movies,  and  here  I  am." 

"And  what  comes  next?" 

"That,"  she  says,  "is  what  I'm  sticking  here 
to  find  out." 

"But  what  do  you  expect?" 

"Just  the  much  spoken  of  chance.  Give  me 
that  and  I'll  try  to  do  the  rest.  I  haven't  any 
foolish  ideas  about  my  devastating  beauty  and 
scintillating  talent,  but  I  must  have  a  brain  or 
two  more  than  most  of  these  people  because  I 
often  think  of  the  same  things  they  never  think 
of,  and  I've  got  something  under  my  Georgette 
besides  an  appetite.  Maybe  I  can  cash  in  on 
all  that,  someday. 

"And,  believe  this,  Mack — if  that  chance 
ever  comes,  nothing — no  nothing.' — will  keep 
me  from  making  the  most  of  it!" 

"It's  sure  a  long  shot  you're  playing, 
Mollie." 

"I  know  it,  but  the  long  shots  are  the  ones 
that  pay  big,  and  I've  got  to  make  a  big  killing 
— got  to!  There's  two  things  I've  got  to  do — 
or  at  least  one  of  them.  Get  to  be  somebody  so 
important  that  all  of  my  crucifying  relatives 
will  crowd  around  to  kiss  my  erring  feet;  then, 
get  enough  money  that  I  can  always  be  myself 
if  I  want  to  and  never  have  to  worry  about 
hard  work,  old  age,  and  the  well-known  wolf  at 
the  door.  That's  my  mark.  And,  Mack — 
where  else  does  a  girl  stand  as  good  a  chance  of 
doing  all  that  as  she  does  in  the  movies?  "  She 
leaned  across  the  table  then,  and  patted  my 


hand.  "And,  Mack,  old  boy — I  didn't  mean 
what  I  said  about  your  cutting  loose.  I'd 
rather  you'd  stay — stay  and  see  me  top  the 
hill.    You  will,  won't  you?" 

I  squeezed  her  hand  and  nodded.  "I'll 
stay  if  you  stay;  go  if  you  go — "  And  that's 
as  near  as  I  came  to  telling  her  what  the  Old 
Man  was  figuring  on  doing  to  her! 

After  lunch  I  went  back  to  the  Old  Man  with 
as  nonchalant  an  air  as  I  could  manage  to 
work  up.  "Well,  boss,"  I  says,  "I  couldn't 
fire  her  after  all." 

"Couldn't?"  says  the  boss,  bristling  a  little. 
"Why  not?" 

"Well — mostly  because  I  quit  just  after  you 
told  me  to  fire  her.  I  forgot  to  tell  you  about 
it,  though,  till  just  now." 

"See  here!"  he  says,  puffing  out  his  cheeks, 
"what's  the  matter  with  you,  anyhow?" 

"Nothing,  I  guess.  But  we're  pals-like,  and 
I  don't  think  you  ought  to  ask  me  to  fire  her. 
Do  it  yourself." 

The  boss  commenced  rumbling  and  bubbling 
down  inside  and  I  thought  he  was  working  up 
one  of  his  fits.  But  he  wasn't.  He  was  just 
winding  up  a  laugh.    Yes- — Ike  boss! 

"My  God!"  he  gobbled,  "it'd  be  a  crime  to 
turn  you  out  to  the  mercies  of  a  cruel,  unfeeling 
world  .  .  .  Your  resignation  is  declined — and 
hers,  too.    Now  get  to  hell  out  of  here!" 

Now,  as  you've  probably  suspected,  I'm  a 
timid,  easy-going  guy,  and  I  hate  to  look  for  a 
job  as  bad  as  anybody  living.  So  after  leaving 
the  boss's  office  that  day,  I  got  to  thinking 
about  having  pulled  that  bluff  to  quit  if  he  fired 
Mollie,  and  I  wondered  how  in  the  name  of 
The  United  Exhibitors  I'd  the  nerve  to  do  it. 

Another  thing  that  fretted  me,  too,  was  the 
down-deep  feeling  that  I'd  really  have  done  it. 
...  It  wasn't  like  me  at  all,  and  I  took  the 
problem  out  to  a  bench  on  the  lot  and  sat  down 
to  study  it  out.  Well,  as  I  said,  I'm  a  timid 
guy,  and  when  the  answer  to  the  puzzle  popped 
over  my  head  after  a  few  minutes  of  the  easiest 
thinking  I'd  ever  done,  I  slid  off  that  bench  and 


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started  running  for  the  care-free  out  o'  doors. 
But  I  stopped  before  I  crashed  the  gate.  I 
knew  it  was  no  use  to  try  to  run  away  from 
what  ailed  me — not  as  long  as  I  had  a  memory 
and  Mollie  was  anywhere  this  side  of  the 
Pleiades!  Yes,  that  was  it!  Without  Mollie, 
the  world  would  look  to  me  just  about  like 
Eden  would  have  looked  to  Adam  if  that  apple 
had  been  Deadly  Nightshade — and  me  scared 
to  death  of  her!    Can  you  iris  that  out? 

Well,  for  the  next  month  I  went  around  as 
full  of  agitation  as  a  crock  of  home-brew; 
dodging  her  all  I  could  to  keep  her  from  prob- 
ing me  with  them  green  eyes  of  hers,  and 
thinking  hard  of  all  the  mean  things  she'd  said 
to  me,  hoping  they  might  be  an  antidote.  But 
it  wasn't  no  kind  of  use,  and  gradually  I  quit 
struggling.  If  Mark  Anthony  and  guys  like 
that  couldn't  beat  the  game,  what  chance  did  I 
have?  Feeling  desperate  and  hopeless  like  that 
one  day,  and  finding  her  alone  a  safe  distance 
from  any  eager  listeners,  I  made  up  my  mind 
to  do  my  stuff. 

My  idea  was  to  talk  about  this  and  that  till 
I  got  my  pulse  down  under  one  hundred  revo- 
lutions per  minute,  and  my  vocal  chords  un- 
kinked,  but  a  snooping  stage-carpenter  kinda 
hurried  me  and  I  had  to  shove  off.  Mollie  had 
just  said  something  about  what  a  "flivver"  she 
had  been  in  a  part  she  was  trying  to  do,  and  I 
took  that  for  my  cue. 

"Mollie,"  I  says,  touching  her  hand  timid- 
like,  "we're  both  kind  of  'flivvers,'  ain't  we?" 

"I  guess  so.    Why?" 

"I  was  thinking,  Mollie — er,  that  is,  don't 
you  think  that — that  two  '  flivvers '  teamed-up 
are  better  than  one?" 

"No,"  she  says,  "I  think  they're  twice  as 
bad.    Wliy?" 

It  was  no  go.  I  couldn't  get  to  her  that  way, 
so  I  swung  my  club.  "Mollie — what  would 
you  say  if — if  I  asked  you  to  marry  me?" 

She'd  been  kinda  listless  all  the  time,  but  she 
swung  around  on  me  then,  and  I  never  saw  her 
eyes  so  hard  to  meet.  She  gasped,  too,  but  she 
was  game.  "  Be  yourself,  Mack.  Be  yourself! " 

"Mollie!"  I  gulped,  "I  can't  be  myself — 
without  you!  So  help  me,  that's  straight!  I 
can't!" 

"Mack—!" 

"Remember  the  word,  Mollie,"  I  begged, 
sliding  my  hand  over  hers,  — "be  yourself — ." 

•"THERE  was  some  kind  of  an  explosion  then 
■*•  and  she  was  gone — streaking  it  for  the  dress- 
ing-rooms on  the  run.  She  had  run  from  me! 
And  there'd  been  a  mighty  suspicious  "click" 
in  her  throat  when  she  jerked  loose.  Next  time 
I'd  hold  her.  Who  could  tell  what  mightn't 
happen,  then? 

But — there  wasn't  no  next  time!  For  three 
days  I  couldn't  get  a  chance  to  talk  with  her 
— and  then  Wilkie  Warren  descended  on  the 
Beaux  Arts  with  a  contract  to  direct  a  bunch 
of  pictures.  At  the  first  glance-off  it  may  not 
look  like  the  Great  Wilkie  Warren  would  cast 
aijy  shadows  over  a  casting  director's  love 
affair  with  an  extra  girl — but  wait!  Was  any 
place  ever  the  same  after  Wilkie  had  been 
there? 

Wilkie  probably  wasn't  the  guy  that  dis- 
covered that  ninety  per  cent  of  the  people  was 
morons,  but  he  must  have  been  the  one  that 
discovered  that  each  one  of  them  thought  he 
was  the  original  wise  guy  and  would  pay  good 
money  for  a  chance  to  laugh  at  the  morons  do- 
ing their  stuff.  Anyhow,  it  was  on  that  dis- 
covery that  Wilkie  built  his  fame  and  fortune. 
The  morons  themselves  called  Wilkie's  pictures 
comedies,  and  laughed  themselves  sick  watch- 
ing his  characters  behave  just  like  "s-h-h-h! 
Uncle  Bill  behaves  with  his  stenographer,"  or, 
"Ha!  Ha! — just  like  Sam's  wife  behaves  when 
he's  on  the  road — "  Honest! — never  once  did 
they  get  the  idea  that  Wilkie  was  showing  'em 
themselves  just  like  they  were — or  would  be, 
if  they  dared  to  be  themselves.  All  he  did 
when  he  put  them  on  the  screen  was  to  speed 
'em  up  so  they  could  do  all  their  stuff  in  an 
hour  or  two  instead  of  splattering  it  around 
over  anywhere  from  fifty  to  seventy  years. 
.  .  .  And  they  thought  he  was  making  come- 


There  Is  Beauty  in  Every  Jar 


TO  gain  and  retain  the  charm 
of  a  perfect  complexion,  to 
achieve  the  beauty  of  a  clear, 
wholesome  skin,  begin  today 
the  regular  use  of  Ingram's 
Milkweed  Cream — there  is 
beauty  in  every  jar. 

More  than  a  cleanser,  more  than  a 
powder  base,  more  than  a  protection 
for  the  skin,  Ingram's  Milkweed  Cream, 
you  will  find,  is  an  actual  beautifier 
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Ingram's  Milkweed  Cream  has  an  ex- 
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property  that  serves  to  "tone  up" — 
revitalize  —  the  sluggish  tissues  of  the 
skin.  It  soothes  away  redness  and 
roughness,    banishes    slight    imperfec- 


tions, heals  and  nourishes  the  skin 
cells.  Used  faithfully,  it  will  help  you 
to  gain  and  retain  the  beauty  of  a 
clear,  wholesome  complexion  —  just  as 
it  has  helped  thousands  of  attractive 
women  for  more  than  35  years. 

Go  to  your  druggist  today  and  pur- 
chase a  jar  of  Ingram's  Milkweed 
Cream  in  either  the  50  cent  or  the 
$1.00  size  —  the  dollar  jar  contains 
three  times  the  quantity. 

Ingram's  Rouge  —  "Just  to  show  the  proper 
glow,"  use  a  touch  of  Ingram's  Rouge  on  the 
cheeks.  A  safe  preparation  for  delicately  em- 
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shades,  subtly  perfumed  —  Light,  Rose,  Me- 
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American  Blush  —  50  cents. 

Frederick   F.    Ingram  Co. 

Established  1885 

102  TENTH  ST.  DETROIT,  MICH. 

In  Canada:     WINDSOR,  ONT. 


Ingram's  Milkweed  CzVam 


Send  ten  cents  today  for  Ingram's  New  Beauty  Purse 


FREDERICK  F.  INGRAM  CO.,  102  Tenth  Street,  DETROIT,  MICH. 

GENTLEMEN:  Enclosed  please  find  ten  cents.  Kindly  send  me  Ingram's 
New  Beauty  Purse,  containing  a  liberal  sample  of  Ingram's  Milkweed 
Cream  ;  two  purse  puffs,  one  generously  filled  with  Ingram's  Face  Powder, 
the  other  with  Ingram's  Rouge,  and,  for  the  gentleman  of  the  house,  a 
sample  of  Ingram's  Therapeutic  Shaving  Cream. 

Name 

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City State 


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• 1=-  re  e:  e:  • 
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2-4   MAIDEN  LANE,  NEW  YORK 
In  Business  Nearly  100  years 


dies!  Well,  maybe  he  was — there's  something 
funny  about  lots  of  us.  I  may  be  a  little 
peculiar,  myself,  for  all  I  know.  .  .  . 

But  about  Wilkie— 

Personally,  Wilkie  was  a  rusty,  venomous 
little  reptile  with  no  more  morals  than  a  tom- 
cat, and  he  hated  one  person  a  half  the  time, 
and  4,450,071,  999  all  the  time — the  "one"  be- 
ing himself  and  the  other  numerals  being  the 
rest  of  us.  But  he  was  something  of  a  genius, 
at  that.  He  wrote  his  own  plays,  directed 
every  bit  of  business  in  them,  and  used  chiefly 
the  people  he  had  picked  up  and  trained  him- 
self. Then,  after  doing  all  that,  he'd  let  any- 
body take  all  the  credit  they  could  while  he 
went  around  to  the  box  office  and  got  about 
ninety-nine  per  cent  of  the  receipts.  For  that 
was  all  success  meant  to  Wilkie — money; 
money  for  his  harems,  his  hooch,  his  hop,  his 
alimonies,  and  his  blackmailers.  Oh,  he  was  a 
ripe  little  vegetable,  all  right.  But  did  Holly- 
wood hate  him?  Not  visibly.  The  day  he- 
came  to  the  Beaux  Arts  that  outfit — which 
hadn't  raised  my  salary  for  three  years — put 
on  the  biggest  show  I'd  seen  since  Armistice 
Night  in  Paris  in  1918.  While  it  lasted,  joy — ■ 
and  a  number  of  other  things — was  unconfined, 
but  the  next  day  everybody  looked  as  happy  as 
a  farmer  paying  for  a  dead  horse.  Wilkie  had 
ceased  to  be  the  amiable  guest  then,  and  was 
looking  'em  over  with  a  director's  jaundiced 
eye.  Game  to  the  core,  the  boss  showed  him 
all  we  had — from  the  blue  ribbon  prize-winners 
down  to  the  reversible-cuff  and  washbowl- 
laundress  brigade,  but  Wilkie  didn't  do  any 
cheering.  In  the  boss's  office  that  afternoon  he 
told  us  why. 

"The  man,  or  men,  who  picked  this  aggrega- 
tion of  talent  certainly  didn't  get  a  thing  that 
was  more  than  skin-deep.  Now  I  want  people 
who  have  brains  and  a  sense  of  humor;  people 
who  have  read  the  old  book  all  the  way  through 
and  have  laid  it  down  to  laugh.  I  don't  care 
whether  they  are  stars  or  stage  hands;  if 
they've  lived  long  and  deep  enough  to  learn 
what  a  rotten  mess  of  ignorance,  hypocrisy, 
brutality  and  greed  this  world  is,  and  still  have 
saved  enough  of  man's  one  divine  attribute  to 
laugh  at  it,  they've  got  something  to  put  over 
and  I  can  show  them  how  to  do  it.  But  remem- 
ber this- — that  bars  not  only  the  ones  who  are 
crystallized  around  the  idea  of  their  own  im- 
portance, but  also  those  that  have  been  rotten 
just  for  the  pleasure  of  being  rotten — like  my- 
self, for  example,"  he  finished  with  a  nasty 
grin.  "And  another  thing — for  principals  I 
want  people  who  have  a  personality  that  kicks 
like  a  live  bird  in  your  hands.  If  you've  got 
any  people  like  that — good!  If  you  haven't 
got  them — get  'em!" 

AND  yet  lots  of  people  thought  that  Wilkie 
could  pick  up  any  old  dub  that  came  along 
and  teach  him  all  he  had  to  do!  I  think  the 
boss  himself  must  have  had  that  idea,  because 
he  looked  like  Wilkie  had  asked  him  to  get  the 
original  cast  of  Hamlet. 

"But  Mr.  Warren,"  he  cheeped,  "people  of 
that  kind  would  be  starring — under  contracts 
to  other  producers." 

"Would  they?"  Wilkie  wanted  to  know. 
"Well,  I  knew  quite  a  few  of  that  kind  when  I 
was  shivering  on  the  lots  here  in  Hollywood 
years  ago,  and  the  few  that  got  to  be  stars  did 
it  after  I  had  broken  in  and  opened  the  gate 
for  them.  If  they  were  here  ten  years  ago, 
they're  here  now.  If  you  haven't  got  them  in 
stock  or  under  contract,  rake  the  lots  for  them. 
I'll  wait  for  you  to  get  them." 

The  boss  looked  like  he  had  just  seen  a 
million  dollars  go  down  for  the  third  time. 
"But  Mr.  Warren — can't  you  be  a  little  more 
specific?  Give  us  an  idea  of  just  what  types 
you  want.    Won't  any  of  our  people  do?" 

"Well,  some  of  your  older  men  and  women 
may  do.  Life  has  hammered  hell  out  of  them 
and  they  may  be  anxious  to  get  back  at  it,  and 
therefore  be  workable  from  the  inside  out. 
But  your  younger  women — your  Paris  dolls — 
Pshaw !  If  any  one  of  them  ever  had  a  reaction 
that  wasn't  associated  with  sex  or  self  it  failed 
to  register.    Not  one  of  them  is  an  inch  deep 


at  her  mental  flood-tide.  Actresses — hell! 
Everybody  is  acting!  I  want  a  woman  lead 
that  was  something  real  before  she  started 
acting.  Type?  What  do  I  care!  1'ype's 
another  thing  that's  only  skin-deep.  What  I 
want  is  character;  and  when  I  say  character  I 
don't  mean  personal  reputation  or  anything 
produced  by  a  lot  of  force-fed  inhibitions.  I 
mean  something  in  a  woman  that  makes  her  be 
herself  in  spite  of  everything  the  world  can  do 
to  her,  or  that  she  can  do  to  herself.  Get 
me?" 

/  did.  Yes — me!  That  "be  herself"  stuff 
was  what  did  it.  So  up  I  came — rising  right 
up  and  waving  a  fluttery  hand  at  Wilkie. 

"Pardon  me,  Mr.  Warren,  but  does  she  need 
to  be  a  star? " 

"Are  you  deaf?"  he  snapped.  "Didn't  you 
hear  what  I  said?" 

"Uh — yes,  sir.  And — and  I  think  I  kr.ow  a 
woman  who  might  interest  you." 

"Where  is  she?" 

"Here — on  the  lot." 

"Send  her  in — now.  But  don't  come  back 
yourself  if  you've  tried  to  put  over  some  sweet 
mamma  of  yours." 

That  was  the  first  time  I  ever  saw  Mollie 
get  pale — when  I  told  her  that  Warren  wanted 
to  talk  to  her. 

"Is  this  it — what  we've  been  waiting  for, 
Mack?" 

"It  may  be,"  I  says,  "but  just  to  be  on  the 
safe  side,  I  think  you  had  better  rub  that 
horse-shoe  over  Barney's  dressing-room  door 
before  you  go  in." 

Well,  that  next  hour  was  as  long  as  a  Kansas 
Sunday.  That  rat-eyed  little  devil  wanted  to 
know  what  she  thought  about  everything  from 
Einstein's  Theory  to  the  psychological  cause  of 
short  skirts.  He  made  her  sore,  and  he  made 
her  laugh.  He  asked  her  personal  questions 
until  I  felt  like  I  was  watching  somebody  paw 
over  her  laundry.  But  never  once  did  he 
touch  on  anything  connected  with  acting. 
Thinks  I,  "she's  flivved,"  and  just  then  he 
leaned  over  and  tapped  her  hand. 

"But,  see  here!"  he  says,  "you  haven't  any 
sense  of  humor." 

I  guess  she  was  getting  tired  by  that  time. 
"Maybe  not,"  she  says,  "but  I  get  a  smile  out 
of  the  idea  of  you  making  the  dear  public  pay 
out  good  money  to  see  itself  spanked;  and 
another  smile  out  of  the  idea  of  a  man  like 
you  making  it  his  life-work  to  spank  'em." 

HE  looked  around  at  the  rest  of  us,  grinning 
like  a  dried  monkey.  "  Did  any  of  you  fat- 
heads ever  think  of  that?  Of  course  not!  And 
that  explains  why  you've  kept  this  girl  on  the 
lot  here  for  three  years.  Now  I'll  show  you 
what  to  do  with  her." 

And  they  all  grinned  and  tried  to  act  like  it 
was  a  good  joke  on  somebody  else — me  prob- 
ably, from  the  way  they  looked  at  me.  But, 
just  the  same,  I  knew  the  joke  wasn't  on  me  or 
Mollie.  Not  then — nor  yet  some  weeks  later 
when  I  heard  Warren  tell  the  boss  that  he'd 
better  tie  Mollie  up  with  a  long-term  contract 
while  he  could  get  her  cheap.  "She  isn't  an 
actress  yet,"  he  said,  "but  she's  going  to  pass 
for  one  pretty  soon,  and  a  good  one,  too.  These 
other  directors  couldn't  do  anything  with  her 
because  they  had  been  used  to  working  with 
putty,  and  she  isn't  putty.  She's  steel;  steel 
already  tempered,  and  just  waiting  to  be 
turned  and  polished.  And  I'm  the  craftsman 
that  can  turn  and  polish  her." 

At  the  time,  I  thought  a  special  providence 
had  fixed  it  for  me  to  overhear  that  conver- 
sation. It  gave  me  a  chance  to  put  Mollie  wise 
so  she  wouldn't  be  rushed  into  selling  a  lot  of 
her  future  to  them  penny-blistering  birds  for  a 
song.  But  when  I  rushed  away  to  her  with 
the  news,  I  was  pained  to  see  how  she  took  it. 

"But,  Mack,"  she  says,  "he's  doing  a  lot  for 
me — writing  this  first  part  to  fit  me  so  I'll  get 
by  in  it,  and  he's  got  to  spend  so  much  time 
teaching  me  the  things  I've  got  to  learn  " 

"And  he's  doing  it  just  as  a  favor  to  you,  I 
suppose?  Believe  me,  no!  Besides,  it's  the 
boss  that'll  have  to  pay — not  little  Wilkie." 

"I  know.    But  he  won't  like  it — and  this  is 


Kfrertlaera  please  mention  pnoTon.AV  MAGAZINE. 


Daintily 


shampoo 


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and  pleasure  in  the 
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nut  Oil  Shampoo. 

The  abundance  of  its 
creamy  lather  will  leave 
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fluffy  and  easy  to  do  up. 

— these  virtues  come 
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Photoplay  Magazine — Advertising  Section 

my  only  chance.  There'll  never  be  anybody 
else  who  will  see  enough  in  me  to  go  to  all  this 
trouble  and  work — " 

"Be  yourself,  Mollie!  Warren  and  the  boss 
are  satisfied  that  there's  big  money  in  you  and 
they're  spending  a  little  to  get  it  out.  That's 
all.  And  you  can  bet  that  Warren  will  manage 
to  go  fifty-fifty  on  all  he  saves  the  boss  by  get- 
ting you  cheap.  You  know  his  game.  He 
doesn't  pick  up  nobodies  and  train  'em  just  to 
give  them  a  chance.  Not  that  bird!  He  does 
it  because  it's  cheaper  than  getting  'em  ready- 
made,  and  he  gets  big  money  because  his 
people  don't  cost  the  producers  much.  Look 
at  Matson,  Berry,  and  Blaine.  He  got  two 
or  three  years  of  their  very  best,  and  they 
never  saw  any  real  money  till  they  got  loose 
from  the  contracts  he  had  ribbed  up  for  them. 
You  don't  want  to  be  another  one  of  his 
'bound  girls,'  do  you?" 

"No,  I  suppose  not.  But — ."  Then  she 
choked  off  and  stared  over  my  shoulder  like 
she  saw  a  ghost  stalking  me.  I  turned  around 
— and  there  was  Warren!  He'd  got  it  all!  I 
could  tell  that  by  the  expression  of  his  eyes. 
He  simply  was  seething  with  poison. 

T_TE  didn't  pay  me  the  compliment  of  saying 
■*■  -^-anything  to  me,  though.  He  turned  on 
Mollie.  "Is  this — ,"  he  asked,  jabbing  his  cane 
in  my  direction,  "Is  this  something  that  be- 
longs to  you?"  And  his  voice  would  have 
raised  gooseflesh  on  a  crocodile. 

Poor  old  Mollie!  For  once,  somebody  had 
got  her  goat.  "Why — why,  that's  Mr. 
McCain,"  she  stuttered. 

"Yes?" 

"Well — he — he's  an  old  friend.  He's  the 
casting  director  who  first  hired  me.  And — 
don't  you  remember? — he's  the  one  who  told 
you  about  me." 

"I  see.  A  part  of  your  past  that  proposes 
to  be  a  part  of  your  future — your  prosperous 
future.  A  provident  young  man  but  a  crude 
workman.  I'll  tell  you  later  what  to  do  with 
him."  Then  he  turned  around,  swinging  his 
cane,  and  sauntered  off  toward  the  office. 

I've  always  regretted  that  I  didn't  obey  my 
impulse  to  reach  out  and  get  him  then,  and  do 
some  Indian  club  exercises  with  him.  If  I  had, 
I'd  a  had  one  pleasant  memory  of  my  associa- 
tions with  him.  But  I  let  him  walk  off  un- 
harmed while  I  bleated  around  Mollie — looking 
as  cheap  as  I  felt,  I  expect.  The  result  was 
that  Warren  had  time  to  get  to  the  boss  and 
leave  orders  for  me  to  be  fired  pronto,  and  get 
safely  away  before  I  found  it  out. 

I  don't  suppose  that  I  need  to  mention  that 
they  carried  out  his  orders,  do  I?  No,  I 
thought  not.  But  I  might  say  that  the  official 
executioner  did  me  the  honor  of  suggesting  that 
maybe  I'd  better  run  right  on  home  and  not 
try  to  make  any  adieux  around  the  studio  that 
day.  "Of  course,"  he  says,  "I'm  sure  you 
wouldn't  get  ugly  or  rough  with  anybody. 
But  maybe  you'd  rather  come  around  later — " 

"The  later  the  better,"  I  shuts  him  off.  "If 
there's  anybody  here  that  wants  to  weep  over 
my  getting  canned  they  can  loop  me  up  to  do 
it.  And  I'll  tell  you  something  else;  them  that 
come  to  weep  will  remain  to  laugh — at  the 
Beaux  Arts !  Firing  me  is  one  whale  of  a  joke — 
on  the  Beaux  Arts.  You'll  find  it  out,  by  and 
by.  And  now,"  I  says,  throwing  out  my  chest, 
"my  personal  compliments  to  the  Boss,  War- 
ren, and  all  the  rest  of  that  pack,  and  tell  them 
that  I  said  they  could  all  go  to  hell!" 

Yes,  I  did — me!  I  told  him  that  and  I  meant 
it.  And  I'll  let  you  in  on  a  little  secret  and 
show  you  how  I  got  that  way. 

On  the  outside  I  probably  looked  about  like 
I  had  for  the  last  three  years,  but  on  the  inside 
I  was  a  different  man.  I  had  bowels  of  buck- 
skin and  a  backbone  of  tungsten  steel.  A  letter 
from  Dad  had  done  that  to  me.  .  .  .  Here! 
I'll  let  you  read  it. 

Jack  Rabbit  Springs, 
Coyote  County,  Kansas,- 
Box  No.  313,  R.  F.  D.  25. 
July  28,  1922. 
Mr.  McKinley  McCain, 

When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


When  he  says 
goodnight 

EVERY  evening,  no  matter  how 
wonderful,   must   come  to  an 
end. 

And  when  he  leaves,  he  will  carry 
away  a  mind's-eye  picture  of  you 
as  he  last  saw  you. 

Perhaps  the  one  thing  that  can 
leave  the  greatest  impression  of  any 
woman's  loveliness  is  her  hair. 

And  thousands  of  women  have 
learned  the  way  to  lovely  hair  with 
Wildroot  Hair  Tonic.  They  know 
it  keeps  hair  always  soft,  fluffy  and 
attractive. 

No  matter  if  one's  hair  may  be 
dull,  lifeless  or  even  full  of  dan- 
druff, she,  too,  can  add  so  much 
to  her  charm. 

After  your  Wildroot  shampoo,  mas- 
sage Wildroot  Hair  Tonic  into  the 
scalp.  Then  notice  the  immediate 
results.  Wildroot  Co.,  Inc.,  Buffalo, 
N.Y. 

WILDROOT 

HAIR  TONIC 


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From  this  thought  has  grown  the  greatest 
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We  found  young  men  and  women  with 
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Artistic  talent  may  be  lying  dormant  in 
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Photoplay  Magazine — Advertising  Section 

Los  Angeles,  Cal. 
Dear  son: 

Well  son.  I  take  my  pencil  in  hand  to  write 
you  a  few  lines  today,  well  son.  I  suppose 
youll  be  supposed  to  hear  from  your  old  dad 
so  soon  after  him  writing  you  last  spring  when 
the  cattle  barns  burned  up  but  your  ma  kinda 
thought  I  otta  write  you  ubout  a  supprise  we 
got  for  you.  ben  he  wanted  that  I  should  telli- 
graph  you  but  but  I  figgered  I  couldnt  tell  you 
all  about  it  in  ten  words,  so  I  didnt.  Well 
son.  you  remember  where  old  spots  pen  was 
about  forty  yards  south  of  the  old  elm  tree 
which  you  and  ben  fell  out  of  or  maybe  it  was 
you  and  willie  guess  it  must  have  been  you 
and  willie  because  ben  wasnt  no  hand  to  hell 
around  and  climb  trees,  well  son.  just  80 
foot  north  of  the  northeast  corner  post  of  old 
spots  pen  was  where  some  Pennsylvania  fellers 
asked  me  could  they  drill  a  prospect  hole,  and 
I  said  yes.  well  son.  yesterday  Saturday  at 
243  pM  they  gouged  her  through  the  missippi 
lime  and  we  heard  her  roaring  clear  over  at  the 
baldwin  road  where  ben  and  me  was  trimming 
hedge  and  I  says  to  ben  ben  they  hit  her  and 
ben  he  was  arunning.  well  son.  it  spouted 
higher  than  the  old  elm  and  splattered  down 
fifty  foot  beyond  the  silo,  somehow  the  news 
got  out  gossips  probly  and  a  hundered  fellers 
have  been  here  trying  to  buy  me  and  get  leases 
and  one  feller  offered  me  a  100  thousand  for 
them  five  acres  on  the  ridge  which  you  know 
is  so  rocky  you  have  to  plant  corn  there  with 
a  shotgun,  well  son.  Ive  wore  out  all  the 
pencils  on  the  place  figuring  royalties  on  that 
one  by  the  elm  except  this  one  and  before  they 
hit  any  more  maybe  you  better  come  home  and 
bring  one  of  them  adding  machine  so  no  more 
from 

your  aff.  father 

Mr.  Grant  McClain 
PS    Your  ma  has  read  this  and  she  says  to  tell 

you  it  was  oil  we  struck 

Was  you  ever  a  barrel  of  homebrew  that 
had  been  bunged-up  before  it  had  quit  work- 
ing? No?  Well  then,  there's  no  use  of  me 
trying  to  tell  you  how  I  felt  when  I  got  that 
letter.  It's  enough  to  say  that  I  had  to  hold 
onto  myself  with  both  hands  to  keep  from  ex- 
ploding all  over  the  landscape.  But  I  held  on 
and  did  a  little  thinking — a  fellow  gets  that 
way  when  he's  suddenly  got  too  much  money 
for  one  person  and  not  enough  for  everybody — 
and  I  went  to  sniffing  over  my  list  of  friends 
to  see  who  could  hear  the  news  without  think- 
ing of  a  "touch"  in  the  same  breath.  Well, 
when  I  got  done  I'd  never  felt  so  friendless 
before  in  my  life.  Of  course  there  was  Mollie, 
but  it  didn't  look  like  "good  business"  to  pull 
that  news  on  Mollie  just  when  I  was  trying  to 
be  something  more  than  a  friend  to  her  and 
trying  to  be  it  on  my  own.  Mollie  might  think 
I  was  trying  to  support  my  case  with  all  that 
jack,  and  if  she  did— Wowie! 

ANOTHER  thing— Mollie  was  fighting  the 
fight  of  her  life  just  then  and  it  might  not 
make  her  battle  seem  any  easier  to  see  a  dumb- 
bell like  me  sail  by  her  on  wings  of  luck,  straight 
down  the  road  to  "home,  sweet  home."  .  .  . 
Of  course  if  I  had  had  any  real  enemies,  I  could 
have  got  a  barrel  of  fun  out  of  paining  them 
with  the  news,  but — Gosh  ding  it! — I  didn't 
have  any  enemies  either — that  is,  not  till  after- 
ward, when  the  Beaux  Arts  pulled  that  dirty 
trick  on  me,  and  then  I  was  caught  unpre- 
pared. Yes,  sir.  Like  the  dumbbell  that  I  am, 
I'd  left  that  letter  at  home  that  day! 

That  was  one  of  the  biggest  disappointments 
of  my  life,  but  after  I  got  home  I  sure  got  a  lot 
of  fun  out  of  reading  that  letter  and  thinking 
what  that  gang  would  say  when  they  found  out 
that  I  couid  buy  a  studio  if  I  wanted  to.  And 
maybe  I  would,  too — buy  a  studio!  Buy  one, 
and  star  Mollie!  But  first,  maybe  I'd  better 
run  back  to  Kansas  and  get  some  of  the  stuff 
that  makes  the  bankers  cheer.  That  would  be 
easy,  and  after  I'd  got  it — 

I'd  got  about  half  way  through  my  packing 
when  somebody  rapped  on  the  door.  Thinking 
it  was  the  landlady,  I  called  out  in  merry  mil- 


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itary  fashion,  "Fall  in!"  And  in  walked  Mol- 
lie! — Mollie,  looking  like   a  ravaging   tigress. 

"For  the  love  of  Mike — "  I  hollered,  hiding 
something  I  was  folding  up — 

"Mack,"  she  says,  " — he  had  you  fired!" 

"Don't  tell  me,"  I  says.     "I  know  it." 

She  came  on  in  and  pushed  the  door  shut. 
"Well— I  quit!" 

"Mollie!    Quit?    Who— What— ?" 

"  Warren — the  Beaux  Arts.  The  whole  rot- 
ten game!" 

"You  haven't!     You  can't — !" 

"I  have!" 

"But  why — why?" 

"  They  fired  you,  didn't  they?  Fired  you  be- 
cause you  tried  to  protect  me — tried  to  be  a 
good  friend  to  me.  Fired  you — ..on,  Mack!" 
Then  she  dropped  down  on  a  chair  and 
slammed  her  hat  across  the  room.  "And  they 
thought  they  could  get  away  with  it!"  she 
steamed. 

"  But,  Mollie!  You  didn't  quit  just  because 
they  fired  me?" 

"Oh,  didn't  I?  Ask  Warren  and  the  boss 
what  they  think?" 

"  But— but  you  didn't  do  it  so  it  couldn't  be 
fixed  up?" 

"Ask  them  that,  too.  But  use  the  tele- 
phone— it'll  be  safer." 

"Oh,  Mollb!"  I  gulped.  "Your  big  chance! 
Your  one  and  only!  The  one  you've  waited 
three  years  for!  Don't  you  know  that  no  one 
else  will  give  you  a  chance  now?  Don't  you 
know  that  Warren's  the  one  man  in  a  thousand 
that  could  put  you  over?"  I  almost  broke 
down — "Oh,  Mollie!  You  make  me  feel  like 
a  dog!" 

"That's  better,"  she  said,  weary-like.  "A 
dog  probably  would  want  to  make  a  fuss  over 
me  if  I'd  kicked  somebody  for  kicking  him — 
want  to  show  me  how  much  he  loved  me  for 
it—" 

"Mollie!" — I  was  on  my  knees  then,  grab- 
bing at  her  hands,  "Mollie!  If  that's  it — if  I 
dared  to  think  that  you  could — " 

She  smiled  down  at  me,  her  eyes  soft  and 
misty.  "Be  yourself,  Mack,"  she  says.  "Be 
yourself — and  kiss  me — " 

And  I  was— and  I  did! 

IKINDA  thought  that  no  woman  would  want 
a  better  wedding  present  than  that  letter  of 
Dad's,  so  I  held  it  out  on  Mollie  until  "P. 
Valesquez,  Justice  of  the  Peace  and  Garage," 
had  done  his  stuff  over  us  the  next  morning. 
Our  taxicab  man  had  ambled  off  some  place, 
and  when  we  came  out  of  the  marriage  shop 
and  garage  we  had  to  wait  for  him  at  five  dol- 
lars an  hour.  It  wasn't  a  very  open  cab,  but 
it  was  open  some,  so  I  tried  to  he  discreet. 
But  I  had  to  do  something,  and  I  flashed  that 
letter.  Mollie  read  it  over  so  quietly,  and 
folded  it  up  so  carefully,  that  I  thought  she 
had  missed  the  "wow"  in  it  and  I  started  to 
explain. 

"It's  like  this — "  I  begins,  then  she  kinda 
whimpered  and  came  into  my  arms  like  a  ten- 
year-old.  "Oh,  Mack — Mack!  Never  to  be 
alone  and  tired — never  to  be  afraid  of  being 
old  and  poor!  Mack! — You're  the  best  man 
in  the  world — the  very,  very  best!" 

"That's  all  right,  sweetness,"  says  I,  showing 
her  what  a  powerful  man  she'd  married.  "I 
did  it  all  for  you — "  And  at  that  sacred 
moment  somebody  jabbed  me  in  the  side. 

I  twisted  my  head  around  and  looked  right 
into  the  face  of  the  sourest  "cop"  I  ever  saw. 
"Here!"  he  says,  breathing  heavy  and  putting 
his  eyebrows  together,  "Be  yourself — be  your- 
self!" 

Now,  how  do  you  suppose  he  come  to  think 
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What  Makes  Them  Stars? 

[  CONTINUED  FROM  PAGE  49  ] 


in,  entertained  by  and  greatly  admire  (at  a 
distance)  the  sort  of  women  who  attract  men. 
Their  curiosity  is  awakened  and  their  sense  of 
the  beautiful  is  satisfied. 

Thus  there  has  grown  up  a  group  of  young 
screen  actresses  who,  in  the  past  year,  have 
changed  the  face  of  the  screen.  They  have 
risen  to  vital  success  and  popularity,  and  they 
are  indeed  a  new  order  of  screen  idol.  In  my 
work  it  happens  that  nearly  all  these  girls 
have  come  under  my  direction,  and  the  few 
I  have  not  directed  I  have  been  in  such  close 
studio  touch  with  that  I  could  study  them. 
I  believe  that  I  have  been  privileged  to  direct 
more  of  these  new  favorites  than  any  other  man. 

And  it  is  very  interesting,  in  the  close  study 
a  director  must  make  of  every  actress  he  works 
with,  to  estimate  what  each  of  these  girls  has 
to  offer,  to  understand  what  it  is  in  their  per- 
sonality that  gives  them  sufficient  lure  to  win 
fame,  fortune  and  the  admiration  of  the  whole 
world. 

In  this  group  I  place  Barbara  La  Marr,  Mae 
Busch,  Nita  Naldi,  Lila  Lee,  Marguerite  de  la 
Motte,  Leatrice  Joy  and  Helen  Ferguson. 

Not  easy  to  analyze.  By  no  means  dis- 
missed with  the  over-used  term  "vamp." 

AT  home,  in  their  personal  life,  they  may  be 
■  the  most  domestic,  the  quietest  and  most 
demure  of  women.  From  the  standpoint  of  a 
director,  however — here  is  what  it  seems  to  me 
has  won  them  their  selection  by  the  public, 
for  only  the  public  can  really  select  favorites. 
This  is  what  I  see  in  them  on  the  screen — and 
what  I  judge  the  people  see. 

Barbara  La  Marr — as  artificial  and  as  en- 
ticing as  a  Parisian  perfume.  The  most  tre- 
mendous sex  appeal  of  any  woman  on  the 
screen.  I  do  not  even  except  Pola  Negri. 
Her  only  competitor  is  Corinne  Griffith. 

Miss  La  Marr  appeals  to  the  eye — she  fills 
the  eye.  Even  on  the  neutral  screen,  she  is  a 
blaze  of  color.  Her  attraction  is  vivid,  vital, 
definite,  yet  it  is  ultra-civilized.  It  suggests 
pleasures  that  only  a  land  of  advanced  civi- 
lization can  understand.  Even  a  bad  dress- 
maker cannot  make  Barbara  La  Marr  look 
virtuous.  Yet  there  is  a  sadness  in  her  lovely 
face  that  prevents  condemnation. 

It  is  the  very  gorgeous,  tinkling,  scented, 
audacious  artificiality  of  her  that  makes  every 
man  and  every  woman  in  the  audience  forget 
the  drab,  the  commonplace,  the  dull  things  of 
real  life.  She  arouses  dreams — in  woman, 
dreams  of  herself  in  such  a  role.  In  man, 
dreams  of  a  romance  with  such  a  woman. 

I  have  never  worked  with  anyone  so  pleasant 
to  direct.  She  is  of  a  very  nervous  tempera- 
ment and  you  must  drive  her  as  you  would 
drive  a  nervous  horse — with  a  light,  but  very 
firm  rein.  If  you  ever  let  her  feel  any  in- 
security in  your  handling  of  a  situation,  if  you 
ever  lose  her  confidence  or  get  her  into  trouble 
— you  can  never  win  her  back.  Yet  you  must 
never  be  rough  nor  stern  with  her.  She  is  a 
happy,  pleasant  person — almost  too  pleasant. 
She  Is  always  so  sweet  and  smiling  and  gracious 
that  you  cannot  be  sure  whether  the  part  is 
actually  working  out  as  she  sees  it — or  whether 
she  is  just  normally  good-natured. 

There  is  a  lack  of  force  there — of  that 
divine  discontent  that  drives  us  to  bigger 
things.  Too  easy  to  please — too  anxious  to 
please.  •  Yet  those  are  the  very  things  that 
give  her  that  velvety,  sensuous  softness  on  the 
screen;  that  smother  your  thinking  in  a 
dreamy,  gentle  appeal. 

The  difference  between  directing  Mae 
Busch  and  Barbara  La  Marr  is  that,  with  Miss 
La  Marr,  the  rain  comes  first,  emotionally, 
and  then  the  lightning.  Witn  Mae  Busch, 
the  lightning  strikes  and  then  the  rain  pours 
down. 

Mae  Busch  spells  that  ever-interesting, 
eternal,  intoxicating  thing — temptation.  A 
man  might  cut  her  throat,  but'he  would  never 
tire  of  her.     Sex  with  her  is  a  challenge. 


To  me — and  I  am  trying  to  analyze  these 
things  for  women  readers  as  I  have  had  women 
analyze  the  charm  of  men  idols  for  me — Mae 
Busch  needs  only  one  word  to  describe  her. 
She  is  stimulating.  The  sort  of  a  woman  you 
love  for  her  faults.  There  is  only  one  thing 
you  could  ever  be  sure  of  with  Mae  Busch — 
that  you  could  never  be  sure  of  anything. 

Restless,  impatient,  changing  meods  as  an 
opal  changes  colors,  flaring  from  one  emotion 
to  another,  she  has  yet  back — way  back, 
almost  hidden — a  great  womanly  warmth  and 
sweetness.  There  is  a  'cello  note  in  her  jazz — 
and  that  is  the  very  thing  that  makes  real 
greatness  within  her  grasp. 

She  is  the  sort  of  an  actress  who  must  feel — 
actually  feel — every'  scene  she  does,  and  whose 
work  leaves  her  as  exhausted  as  though  she 
had  lived  the  story  herself.  I  have  never 
known  an  actress  more  ambitious,  more  willing 
to  work,  or  more  earnest  in  her  study  and 
endeavor. 

Nita  Naldi — it  is  almost  too  simple  to 
explain  Nita  Naldi's  appeal.  It  does  not  take 
a  connoisseur  to  appreciate  a  woman  in  the 
prime  of  her  emotional  capacity  such  as  Miss 
Naldi  gives  the  screen.  She  is  simply  the  last 
word  in  primitive,  pagan,  obvious,  mature 
lure  of  woman. 

Of  all  the  women  I  have  ever  worked  with, 
Miss  Naldi  takes  perhaps  the  most  care  an<" 
thought  in  directing.  She  is  just  a  little 
suspicious  of  the  world  in  general,  and  she 
must  be  convinced — absolutely  convinced- 
of  anything,  of  its  whys  and  wherefores,  before 
she  can  do  it  properly.  Like  all  women  of  hei 
type,  she  is  imitative  rather  than  creative,  bul 
her  imitative  results  are  tremendously  vil 
and  effective  because  she  herself  is  so  un- 
affected and  courageous  in  her  mental  oper- 
ations. 

In  "Blood  and  Sand"  we  had  to  work  oul 
every  scene,  and  then  she  would  ask  me  to  dc 
it  for  her,  so  that  she  might  see  exactly  ho\ 
it  was  going  to  look.  There  were  moment 
when,  languishing  in  the  arms  of  Rodoli 
Valentino,  I  must  have  looked  about 
ridiculous  as  it  is  possible  for  a  man  to  lool 
but  Nita  would  watch  carefully  and  thei 
even  if  her  emotions  had  not  been  entirel 
awakened  to  the  scene,  her  understandii 
would  enable  her  to  present  it  perfectly. 

There  is  something  really  superb — somei 
thing  of  the  daring  and  magnificence  of  ancient 
Rome,  of  the  inspiration  of  pagan  goddesses — 
in  the  artistic  perfection  of  Nita  Naldi's 
modelling.  It  sweeps  an  audience  to  reckless 
appreciation  She  is  a  splendid  creature  in  ' 
body  and  an  utter  pagan  in  mind. 

IN  Lila  Lee,  I  believe  the  world  finds  sym- 
bolized the  first  budding  flame  of  adolescence. 
When  I  watch  her  I  often  think  of  Laurence 
Hope's  delicious  poem  which  ends: — "For  the 
month  of  marriages  is  drawing  near."  She  is 
so  young,  so  childlike  and  yet  so  full  of  the 
promise  of  glorious  womanhood.  It  is  the 
lure  of  the  first  kiss — that  virginal,  shy,_  hun- 
gering kiss  that  is  never  duplicated  in  all 
life.  It  awakens  memories  long  hidden,  stirs 
young  dreams 

To  direct  Lila  is  a  joy  forever.  She  is  like 
a  scarf  of  many  colors  that  you  fling  in  the 
sunshine  or  in  the  shadow.  Her  emotions  are 
facile,  yet  they  ring  true.  You  have  merely 
to  suggest  to  see  your  suggestion  come  to  life 
in  her  hands. 

Leatrice  Joy  is  the  most  intriguing  of  all 
screen  actresses.  She  has  the  attraction  of 
the  gaming  table.  Behind  the  exquisite 
sparkle  of  her  fascinating  little  face  is  that 
grin  that  touches  the  lips  of  the  imp  of  chance. 

Romance,  sex,  love,  life,  work — all  a  game, 
a  game  to  be  played  for  the  greatest  stakes  of 
fun  and  excitement  and  fortune  and  flattery.. 
She  is  the  type  of  woman  who  cannot  take 
anything  seriously,  even  herself.  _  Yet  she 
deceives  you  by  her  perfect  simulation. 


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Leatrice  Joy  is  like  a  perfect  dinner — ex- 
quisite and  yet  leaving  you  unsatisfied.  She 
has  the  mysterious  lure  of  forbidden  fruit. 
The  trick  of  making  the  most  ordinary  thing 
tempting  because  it  is  secret,  unattainable. 
She  is  a  mirage  in  the  desert.  Sincerity  would 
bore  her,  constancy — either  intellectual  or 
romantic — would  suffocate  her.  (My  apol- 
ogies to  her  young  husband,  Mr.  Gilbert,  who, 
I  am  sure,  understands  I  speak  only  of  his 
wife's  silver-sheet  self.)  For  she  is  the  coquette 
supreme — the   many-faceted   diamond. 

Marguerite  de  la  Motte  presents  to  the 
world  the  perfect  flapper.  Yet  of  all  these 
women,  I  believe  Marguerite  de  la  Motte  is 
the  most  an  actress.  What  a  trooper  she  is! 
She  goes  beyond  your  dream  of  a  part. 

On  the  screen  her  personality  is  coaxing, 
cajoling,  harrowing,  exciting — and  deviling 
you  from  first  to  last.  She  is  naughty,  and 
she  dares  you  to  be  cross  with  her.  She  is 
wise,  yet  she  is  innocent.  But  combined  with 
this  utterly  modern  sophistication,  this  im- 
pudent sex  consciousness,  is  the  buried  scent 
of  sandalwood.  That  is  what  makes  her  more 
alluring  than  any  other  screen  flapper.  She 
might  be  the  reincarnation  of  some  dancing 
girl  of  the  reign  of  King  Tut  himself.  Her 
topaz  eyes,  her  thin,  olive-skinned  face,  have 
a  touch  of  the  Arabian  Nights. 

She  possesses  real  dramatic  imagination. 
She  becomes  the  part  she  is  playing,  and  I 
suspect  her  of  acting  it,  even  at  home. 

Helen  Ferguson  is  a  strange  combination. 
It  is  this  very  combination  that  has  kept  her 
from  achieving  the  heights  her  really  great 
artistic  ability  should  reach.  She  is  difficult 
to  direct  because  she  is  never  quite  sure,  nor 
quite  satisfied  with  herself,  but  it  is  always 
worth  while.  She  should  emerge  a  fine 
dramatic  artist  of  breadth  and  vision.  Behind 
every  stroke  of  her  portrayals  is  a  distinctly 
human  idea.  She  has  the  charm  of  intelligence 
on  the  screen,  and  it  is  a  very  real  charm. 
And  she  can  awaken  sympathy  without  losing 
admiration,  which  it  is  sometimes  hard  for  a 
pretty  woman  to  do.  Beauty  is  too  often  a 
screen  that  hides  the  delicate  shades  of  emo- 
tion, but  Helen  Ferguson's  beauty  lends  itself 
to  express  emotion  and  grows  more  charming 
in  the  process. 

But  she  has  established  no  definite  type. 
At  one  moment,  she  has  the  fiery  charm  of  a 
Slav  peasant  girl.  At  another,  the  cool  sweet- 
ness of  a  young  American  college  woman. 

The  point  that  comes  to  me  in  this  new 
generation  of  screen  actresses  is— that  they 
combine  the  startling  appeal  of  the  "vamp" 
with  the  womanliness  and  reality  of  the  essen- 
tial leading  woman.  But  that  they  never 
suggest  the  ingenue  at  any  time — any  of  them. 


The  Loves  of  Pola  Negri 

[  CONTINUED  FROM  PAGE  38  ] 

"I  lived  in  the  poor  section  of  the  city.  There 
I  learned  to  know  people — in  the  slums,  in 
the  ghetto,  in  the  cheap  little  cafes. 

"In  my  greatest  sorrow  I  turned  to 
people.  Not  the  individual,  but  humanity. 
Out  of  my  grief  I  gained  this  saving  interest: 
No  matter  how  great  the  tedium  of  life  or  how 
bitter  the  disillusionments  I  have  always 
that — my  interest  in  people. 

""KTOW  love  is  for  my  work.  When  you 
■*■  ^  love  your  work  there  are  no  disappoint- 
ments. 

"I  have  my  objective.  I  must  follow 
straight  to  it.  First,  I  must  accomplish  all 
that  is  possible  for  me  in  pictures,  then  the 
stage.  My  ambition  was  inspired,  long  ago, 
when  I  saw  Duse.  Duse! — I  could  get  down 
on  my  knees  and  pray  to  her  as  I  would  to  the 
Madonna. 

"But  a  woman  needs  more  in  her  life.  One 
life  is  not  enough  to  accomplish  all. 

"I  am  lonely.    I  want  love — affection.   Per- 


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n8 


EyesLi\e  Stars 

You  see  them  so  often  on  the  stage 
and  screen — those  tare,  soft,  starry 
EYES  that  glow  with  light  and  feel- 
ing. Every  woman,  way  down  in 
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Alluring  EYES  are  every  woman's 
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haps  my  ideal  is  too  exacting.  Yet  my  nature 
is  simple.  I  require  so  little.  What  we  call 
love  is  so  common,  and  friendship  so  rare. 

"I  have  no  intimate  friends — just  the  con- 
ventional ones.  And  my  mother.  Next  year 
I  go  to  her.  She  is  at  my  estate  at  Bomberg,  in 
Poland.  I  will  take  her  to  the  home  I  have 
ordered  purchased  at  Beaulieu  on  the  Riviera. 
I  love  France.  My  mother  will  be  happier 
there  than  here. 

"But  I  will  come  back  to  America.  Here  is 
the  place  for  work.  I  love  New  York.  All  my 
life  I  wanted  to  be  there.  And  when  I  came  I 
found  it  wonderful.  No  place  in  the  world  to- 
day are  people  so  eager  for  art  and  so  appre- 
ciative. 

"After  I  do  'Mon  Homme,'  the  Apache 
story,  and  'Madame  Sans  Gene,'  I  will  go  to 
work  in  New  York.  There  I  can  hear  the 
opera.  Music  for  me  is  necessity,  and  I  need 
intellectual  contacts." 


fou  too— 

can  have  beautiful  Hands 

SMOOTH,  soft,  white  hands— you  too  can  have 
them  thru  the  regular  use  of  Witch  Rose,  an 
entirely  different  lotion,  pleasant  and  soothing.  It 
leaves  your  skin  white  and  satin-smooth  without 
the  slightest  trace  of  stickiness. 
Exposure  to  wind  and  sun  dries  the  moisture- 
retaining  oils  of  the  skin,  causing  roughness.  Witch 
Rose  (a  clear  liquid)  supplies  this  needed  oil  with- 
out loading  or  clogging  the  pores.  Every  skin  needt 
Witch  Rose. 

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HPHERE  remains  for  Pola  Negri  one  great 
■*-  emotional  experience,  the  greatest,  she  says, 
— motherhood. 

"The  maternal  instinct  is  very  strong  in  me. 
I  want  a  child  of  my  flesh  to  whom  I  can  devote 
myself  wholly  for  affection.  It  is  the  desire  of 
my  egotism." 

Is  Nietzsche  again  right  when  he  says  that 
man  is  for  woman  a  means;  the  end  is  always 
the  child? 

Certainly  he  explains  in  part  the  fascination 
of  Pola  Negri,  with  her  magnificent  and  un- 
yielding ego,  her  nature  of  clashing  contrasts, 
superbly  sophisticated,  childishly  naive,  dis- 
dainful, appreciative,  pagan  and  idealistic, 
demanding  everything  and  sacrificing  every- 
thing, commanding  with  arrogance  and  sub- 
duing utterly  with  graciousness,  and  daring 
always  to  live  dangerously: 

"The  qualities  in  woman  which  inspire  re- 
spect— or  fear — are  her  greater  naturalness, 
her  flexibility  and  craft,  her  tigress-claw,  her 
naivete,  her  instinctive  cruelty,  her  immense 
passions  and  virtues.  In  spite  of  this  fear  she 
excites  pity  by  appearing  more  afflicted,  more 
fragile,  more  necessitous  of  love,  and  more 
liable  to  disillusions  than  any  other  creature. 
Man  has  been  arrested  before  woman  with  one 
foot  already  in  tragedy!  Is  woman  about  to 
be  disenchanted?" 

Such  are  qualities  of  the  Nietzschean  woman 
that  figure  in  the  fascination  of  La  Negri. 


The  Passing  of  Sigmund 
Lubin 

ONE  of  the  real  pioneers  of  the  motion  pic- 
ture industry  vanished  with  the  passing  on 
of  Sigmund  Lubin.  A  native  of  Silesia,  Mr. 
Lubin  came  to  the  United  States  as  an  optician, 
and  he  invented  many  of  the  machines  used 
for  grinding  lenses.  This  led  to  his  interest  in 
the  then  crude  motion  pictures.  He  started 
making  short  comedies,  and  also  specialized  in 
"reproducing"  prize  fighters.  Every  big  fight 
was  staged  the  following  day  on  the  roof  of  the 
Lubin  studio  with  a  couple  of  local  fighters  im- 
personating the  stars,  and  the  fight  was  put  on 
from  the  description  published  in  the  news- 
papers. 

Mr.  Lubin  built  the  first  picture  theater  in 
Philadelphia  in  1899,  and  followed  this  with 
other  houses.  In  1909  he  sold  out  to  the  Isman 
interests.  With  this  money  he  built  what  was 
then  the  largest  motion  picture  studio,  from 
which  have  come  many  of  the  leading  actors 
and  actresses  of  today. 

He  was  the  first  to  make  "Uncle  Tom's 
Cabin"  for  the  pictures,  and  played  Simon 
Legrce  himself. 

"Pop"  Lubin,  as  he  was  generally  called, 
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119 


Charles  De  Roche  as  the  stern  and  all-poiuer- 
ful  Pharaoh  in  "  The  Ten  Commandments  " 

M.  Charles  De  Roche 

[  CONTINUED  FROM  PAGE  5 1  ] 

But  his  manners,  his  smiles,  his  conversation 
are  all  wholly  European. 

He  is  very  far  from  the  ancient  but  generally 
accepted  concept  of  the  small,  dark  Frenchman 
with  the  moustache  and  the  excitability.  He 
is  blond,  his  eyes  are  hazel,  he  is  big — oh,  very 
big  indeed.    He  is  clean-shaven. 

In  fact,  he  is  distinctly  the  type  that  Georges 
Carpentier  succeeded  in  making  so  popular  a 
couple  of  years  ago. 

And  there  is  a  romantic  novel,  too,  in  the 
story  of  Monsieur  le  Count  de  Rochefort,  of 
the  Faubourg  St.  Germain  and  Hollywood. 

The  title  is  an  old  and  authentic  one,  but 
Monsieur  Charles  De  Roche  has  long  since 
abandoned  it. 

He  was  born  in  France.  At  the  advanced 
age  of  one  month — "I  do  not  remember,  it  is 
true,  but  my  mother  have  tell  me,"  he  said 
with  his  swift  smile — he  went  to  Monoca  to 
live.  His  father  was  president  of  the  French 
line,  the  greatest  of  French  steamship  com- 
panies. 

For  the  first  twelve  years  of  his  life,  the  boy 
lived  amid  the  picturesque  sunshine  of  Algiers. 
He  knew  the  desert,  the  sun,  the  sea,  and  he 
loved  them.  He  was  raised  rather  like  a  young 
Arab  chieftain.  Everything  about  him  was 
full  of  color,  full  of  romance,  full  of  warmth  and 
battle. 

BUT  when  he  was  twelve,  they  took  him  back 
to  Paris,  to  begin  his  education  as  a  French 
gentleman. 

It  was  all  planned.  When  his  father  died,  he 
would  take  over  the  affairs  of  the  family.  He 
would  be  a  business  man. 

"And  from  the  time  I  am  ten  years  old  I 
want  to  be  an  actor,"  he  told  me,  with  swift 
intensity.  "Why — I  do  not  know.  Nobody  is 
actor  in  my  family.  Nobody  even  know  actor. 
I  have  seen  only — oh,  maybe  two,  three  actors. 
But  when  I  am  ten  I  make  all  my  little  friends 
to  sit  still  in  a  chair  and  I — I  am  actor  for 
them." 

He  tried,  to  please  his  mother,  a  business 
career  for  a  short  time. 

It  was  no  good.  The  call  of  the  stage  was  in 
his  blood. 

At  last  there  was  a  terrible  scene  in  the  home 
of  the  de  Rocheforts. 


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"If  you  follow  such  a  career  as  that,"  said 
his  lady  mother,  "I  will  never  see  you  again. 
You  shall  never  cross  my  threshold." 

He  wept.  He  pleaded.  She  was  adamant 
He  went,  heartbroken  yet  determined. 

"She  have  kep'  that  promise,  oh  yes,"  he 
said  soberly,  "I  have  not  seen  her  for  sixteen 
year.  She  live  now  somewhere  in  Corsica.  I 
do  not  know  how  where — anything.  I  am  very 
sorry.  For  myself,  I  have  give  up  much 
money — two  million,  maybe  more.  I  don't 
care."  The  smile  came  back.  "The  money 
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sides, my  mother  have  therefore  give  away  all 
my  money  to  the  poor  people  and  the  priests 
and  the  church.  So  that  is  good.  Maybe,  it 
will  get  me  some  day  into  heaven.  She  spent 
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Well,  he  left  home  and  he  went  on  the  stage. 

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HE  was  with  a  circus  as  a  trapeze  performer 
and  acrobat.  "How  you  call  it — the  man 
who  jump  from  one  rope  to  another  high  up  in 
the  air?  Well,  I  am  him.  Oh,  I  was  a  strong 
young  fellow." 

Later  he  rose  to  vaudeville.  "Yes,  I  am  a 
song  and  dancer.  Once,  too,  I  am  on  the  same 
bill  at  the  Folies  Bergere  with  a  young  man, 
also  most  unknown,  whose  name  it  is  Charlie 
Chaplin.    You  have  heard  of  him,  maybe?" 

At  this  time  he  won  considerable  fame  and 
prestige  in  France  as  an  athlete.  He  is  still 
considered  one  of  their  greatest  football  heroes. 

Then  came  the  war. 

For  the  first  few  months  he  was  in  the  very 
thick  of  it. 

He  was  at  the  battle  of  the  Marne.  He  was 
at  Somme. 

Mostly,  it  was  mud  and  water  and  cold. 
But — "It  was  all  right,"  he  said,  "I  get  along 
fine.  Too  well.  Once,  a  big  English  writer,  he 
come  to  the  trench  where  we  are.  He  looked 
at  me  and  say:  'What  is  this?  All  your  soldier 
mad?  They  find  it  amusing  then  to  live  in  the 
mud  and  have  a  hole  shot  under  them  like  it  is 
a  house?  They  have  an  idea  to  laugh  at  that, 
eh? '  But — it  is  to  laugh  or  to  cry.  And  I  was 
too  big  then  to  cry." 

Shortly  after  that  he  was  captured  and  spent 
twenty  months  in  a  German  prison. 

"The  first  thirteen  months — they  are  not  so 
bad.  I  have  something  to  eat.  But  the  last 
seven.  Mon  Dieu.  They  are  terrible.  I  have 
a  room  as  big — "  he  looked  about  for  a  com- 
parative— "as  big  as  this  table  where  we  eat 
lunch.  Not  one  little  bit  of  the  light  of  the  sun 
or  electricity  she  can  come  in  there.  I  have  no 
— no — what  you  put  over  you  when  you  sleep" 
— I  told  him — "yes,  the  blankets.  I  have  no 
blankets.  And  no  fire  and  outside  she  is 
twenty-six  below  the  zero.  Once  every  day 
they  give  to  me  a  piece  of  bread— oh,  not  such 
a  big  piece  of  bread  she  is  either,  made  out  of 
straw  and  I  do  not  know  what.  And  a  little 
bit  of  water.  Once,  every  fourteen  days,  I  get 
me  some  food  that  they  allow  in  a  parcel  be- 
cause it  come  from  neutral  country — America. 
And  while  I  eat  that,  German  guard  he  walk 
up  and  down  behind  me,  up  and  down,  and 
clump  his  boots  and  whack  his  gun.  It  is  not 
a  good  way  to  eat.     Your  stomach  jump." 

Finally,  he  escaped  by  feigning  insanity — a 
very  difficult  and  dangerous  piece  of  acting  in 
itself. 

A  commission  came  from  Switzerland,  and, 
after  observation,  declared  him  insane.  He 
was  released  and  returned  to  Lausanne. 

"Then  I  have  one  devil  of  a  time  to  make 
them  know  I  am  not  crazy — oh,  much  worse 
than  to  make  them  think  I  was.  Oh,  that  was 
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Pho 

After  the  war,  he  went  back  to  the  stage. 
He  had  considerable  success  in  the  big  Parisian 
theaters.  He  was  with  Sarah  Bernhardt  for  a 
brief  engagement  before  she  went  into  pictures 
in  France. 

"And  then  they  say  will  you  come  to 
America,  and  I  say  I  will  come,  and  here  I  am 
and  I  expect  to  stay — as  long  as  you  will  let 
me." 

He  has  none  of  the  bored  sophistication  that 
is  so  marked  a  characteristic  of  our  actors. 

He  is  like  a  child  about  some  things.  He  is 
not  afraid  to  talk  about  the  war.  nor  his  part  in 
it.  It  was  a  great  game  to  him.  He  is  all 
enthusiasm.  And  he  has  a  delicious  and  Hash- 
ing sense  of  humor.  It  behooves  you,  in  con- 
versation, to  watch  your  step,  or  you  will  find 
that  he  is  laughing  at  you,  with  friendly 
amusement. 

He  loves  the  studio,  its  atmosphere  and  its 
people.  He  has  a  five  weeks'  vacation  before 
he  starts  the  Apache  picture  with  Negri,  and 
he  proposes  to  spend  it  watching  Hill  Hart 
make  "Wild  Bill  Hickok."  Bill  Hart,  by  the 
way,  is  his  favorite  actor  and  his  hero.  lie  is 
immensely  ambitious  and  quite  frank  about  it. 

And  he  has  very  high  ideals  of  acting.  It  will 
be  interesting  to  see  his  progress  with  movie 
fans.  It  will  be  interesting  to  see  if  they  ap- 
preciate his  characterizations.  He  has  had  no 
chance  yet  to  play  a  "straight  part." 


The  Life  Tragedy  of  a 
Sennett  Beauty 

f  CONVINCED  FROM  PAGE  47  ] 

Sympathizing  with  Ben  in  his  disappoint- 
ment, his  dog  straightway  brought  two  pups 
into  the  world.  And  to  the  inexpressible  joy  of 
the  household,  one  of  them  actually  was  born 
cross-eyed.  There's  certainly  something  in 
pre-natal  suggestion. 

The  dogs  help  to  while  away  the  long  even- 
ings from  six  until  eight-thirty,  when  Hen 
precipitately  retires. 

Occasionally,  when  he  feels  the  desire  for 
cutting  up.  Hen  goes  out  on  a  busy  corner  of 
the  boulevard  near  his  home  and  acts  as  traffic 
1  op  while  the  regular  officer  is  having  dinner. 
Within  ten  minutes  after  taking  his  stand  he 
has  worked  havoc  with  his  hands  and  eyes. 

"You!"  he'll  croak  belligerently,  looking  in 
two  directions  and  pointing  in  another.  "You! 
Drive  on!"  And  six  bewildered  little  Fords 
will  leap  at  one  another  simultaneously.  A 
frenzied  melee  ensues.  Frightened  lords 
squeal  and  proud  Pierces  honk  indignantly. 
When  things  seem  as  tangled  as  the  European 
situation,  Ben  puts  his  hand  over  one  eye. 
shakes' his  Lloyd-Georgian  locks  and,  with  a 
lift  of  the  hand,  quells  the  riot. 

With  such  pastimes  he  gets  his  mind  off  the 
indignities  to  which  a  comedian  is  subjected 
these  days. 

"I  started  wrong  in  this  business,"  he  sighs. 
"I  ought  to  be  upstage.  But  I  can't.  It  ain't 
in  me.  They  don't  show  no  respect.  And  that 
hurts. " 

T  SOOTHINGLY  suggested  that  his  Sennett 
■!•  contract  would  soon  expire  and  he  could 
seek  more  respectful  quarters. 

"Leave  Sennett!"  he  barked  fiercely.  "I'll 
never  leave  Sennett.  Every  dollar  I  made  I 
made  through  Sennett.  I  owe  everything  to 
Mr.  Sennett  and  Mr.  Chaplin — and  the  public. 
The  public  i~  the  one  I  owe  most  to.  Yes,  sir, 
I  owe  everything  to  the  public." 

He'll  never  leave  Sennett!  They  don't  show 
him  no  respect,  but  he'll  stick.  He's  fifty- 
seven,  and  he'll  stick  till  he's  eighty.  Die  in 
the  harness,  he  will,  unrespected. 

Before  he  dies  he  craves  just  one  thing.  A 
dying  wish.  He  wants  to  make  a  serious 
drama.  He  says  serious  dramas  are  funnier 
than  comedies.  In  serious  dramas  an  actor  is 
treated  with  .  .  . 

"Nowadays  they  don't  treat  a  comedian 
with  no  .  .  ." 


toplay  Magazine — Advertising  Section 


121 


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122  Photoplay  Magazine — Advertising  Section 

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Title  Reg.  U.  S.  Fat.  on. 
^THIS  is  YOUR  Department.  Jump  right  in  with  your  con- 
tribution. What  hare  you  seen,  in  the  past  month,  that 
nas  stupid,  unlife  like,  ridiculous  or  merely  incongruous?  Do 
not  generalize:  confine  your  remarks  to  specific  instances  of  ab- 
surdities in  pictures  you  hare  seen.  Your  observation  will  be 
listed  among  the  indictments  of  carelessness  on  the  part  of  the 
actor>  author  or  director. 


A  RUBBER  CIGAR  STAND 
TN  "  Peg  O'  My  Heart,"  Laurette  Taylor,  who 
-Ms  playing  the  part  of  Peg,  must  be  a  pretty 
slick  kid  or  else  the  cigar  stand  must  be  spooky. 
If  you  pay  close  attention  you  will  notice  that 
when  Peg  comes  rushing  in  out  of  the  storm 
after  rescuing  her  dog,  she  throws  herself  on 
the  large  sofa.  Either  accidentally  or  on  pur- 
pose she  knocks  the  cigar  stand  over.  The  next 
minute  you  see  the  cigar  stand  standing  up- 
right as  though  nothing  ever  happened  to  it. 
But  why  worry,  strange  things  do  happen  now- 
adays. 

E.  D.,  Richmond  Hill,  L.  I. 

MOVING  PICTURE  OF  A  COMB 
TN  the  "Ne'er-Do-Well,"  when  Tommy 
-1-Meighan  and  Lila  Lee  hold  their  "mass 
meeting,"  under  the  old  trysting  tree,  she 
comes  to  meet  him  in  floating  chiffons  and  the 
usual  huge  Spanish  comb.  As  she  comes 
across  the  meadow  the  Spanish  comb  is  in  the 
side  of  her  hair  toward  her  right  ear,  but  when 
she  arrives  at  the  old  tree  a  few  seconds  later, 
lo,  the  comb  is  in  the  back  of  her  hair  pointing 
directly  towards  the  heavens. 

Mrs.  G.  G.  Good. 

TIME  AND  TIME  PIECES 
VXTHAT'S  the  big  idea  of  "The  Girl  of  the 
**  Golden  West"    wearing   a    wrist   watch 
when  the  plot  was  laid  in  the  early  gold  rush 
days? 

M.  A.  C.  and  M.  H  J. 

,1  PROMISING  FUTURE  FOR  JIM 
TN  "Divorce,"  when  Jim  Parker  (John  Bow- 
sers) is  made  General  Manager,  he  receives 
a  letter,  dated  September  20,  1923.  I  had  the 
pleasure  of  seeing  this  picture  July  4,  1923. 
Just  another  director's  error,  I  suppose. 

Bob  H.  Jutt,  Louisville,  Ky. 

AS  THROUGH  A  GLASS,  DARKLY 
TN  "The  Pride  of  Palomar,"  Mike  Parrel 
•Mhrows  a  Jap  through  a  window,  breaking  the 
glass  into  atoms,  even  taking  the  sash  along. 
But  when  Mike  sits  down  to  rest  after  the  fight, 
the  glass  in  that  window  is  whole,  though  very, 
very  dirty. 

Elsie  Mondragon,  Flagstaff,  Ariz. 


.1  LESSON  IX  COURTESY 
T  AM  glad,  I  am  delighted.  L  am  delirious  with 
-*-  joy,  1  am  pleased  beyond  measure  that 
Bradley  M.  Mason  had  the  pleasure  of  running 
those  two  missing  title-  in  "Tin-  Kentucky 
Derby,"  because  they  were  not  in  the  version 
I  saw.  Possibly  a  time-saving  local  manage- 
ment may  have  had  something  to  do  with  it. 
Besides,  Brad,  I  never  sleep  in  the  movies.  I 
can't,  because  the  people  who  read  the  titles 
out  loud  won't  let  me.  And  you — oh.  gallant 
knight  of  the  typewriter  who  edits  the  "Why 
Do  They's,"  you  put  a  heading  over  Brad's 
snappy  rejoinder  in  this  wise:  "Maybe  She 
Couldn't  Read."  You  have  surprised  my 
secret!  I  can't  read.  I'm  only  four  years  old 
and  my  nurse  takes  me  to  the  movies.  She's  a 
very  brilliant  nurse,  but  she  was  so  puzzled 
over  the  abrupt  appearance  of  Goldenhair  that 
she  took  me  ir  to  see  it  again,  and  to  this  day 
she's  still  puzzled.  She  says  she's  "willin'  to 
take  her  affidavy  that  there  were  no  titles  in 
the  version  of  'The  Rentucky  Derby'  which 
we  went  and  seed,  explainin'  the  age  of  that 
there  child."  My  nurse  also  says  that  your 
heading  over  Brad's  correction  is  what  is 
called  "The  Ketort  Courteous."  As  I'm  only 
four  years  old  and  can't  read,  I  don't  know 
what  courteous  means.  Do  you?  Yes — you 
do  not! 

Alicia  King  Tuylkr,  Atlantic  City,  N.  J. 

CHECKING  UP 

TN  "Hail  the  Woman,"  a  sub-title  reads:  "In 
-^-the  year  of  Our  Lord,  1921,"  but  a  few  feet 
further  a  check  is  shown  dated  June  30,  191 7. 
E.  N.  R.,  Harrisonburg,  Va. 

HE  NEEDED  FOUR  EARS 

IN  the  "Woman  With  Four  Faces,"  Martin 
Osgood  is  seated  in  his  dining  room  eating  a 
midnight  supper,  while  in  the  living  room  (the 
door  between  the  two  rooms  is  open),  Richard 
Dix  and  Betty  Compson  run  about  the  room, 
tap  on  the  woodwork,  open  the  safe,  and 
shuffle  the  papers  around,  but  Osgood  does  not 
hear  them  until  they  upset  a  chair  right  in 
front  of  the  door.  He  must  have  been  slightly 
deaf. 

R.  M.  K.,  Youngstown,  Ohio. 


United  Studios 
Los  Angeles,  California 
Editor  Photoplay  Magazine: 

May  I  take  the  liberty  of  registering  a  loud  wail? 

In  your  September  issue,  under  the  heading  "Why  Do  They  Do  It?"  there  appears 
a  criticism  by  one  "R.  A.  P.,  Roanoke,  Virginia,"  of  "The  Isle  of  Lost  Ships." 

"R.  A.  P."  does  not  seem  to  realize  that  there  appeared  a  long  lapse  of  time  during 
the  two  scenes  he  mentioned,  in  which  many  things  happened.  These  incidents  we 
picture  before  we  return  to  the  cabin.  Many  hours  have  passed  and  it  is  taken  for 
granted  that,  for  the  benefit  of  those  who  analyze  with  a  microscope,  it  would  be 
understood  that  the  detective  could  have  returned  to  the  prisoner  a  hundred  times  to 
change  his  handcuffs. 

Don't  you  think  it  would  be  a  good  idea  to  allow  those  who  are  criticized  by  the 
public  the  opportunity  of  replying  to  these  remarks?  It  occurred  to  me  that  if  these 
criticisms  could  be  shown  the  director  before  they  were  printed,  and  then  both  versions 
of  the  situation  printed  together,  it  would  not  detract  from  the  merits  of  this  depart- 
ment.   In  fact,  I  think  some  of  the  explanations  would  be  as  funny  as  the  criticisms. 

As  it  is,  we  poor  directors  merely  sit  back  and  either  feel  foolish  or  else  grind  our 
teeth  in  just  anger,  as  the  case  may  be. 

Maurice  Tourneur 


Evitv  advertisement  in  I'UOTOl'LAY  MAGAZINE  is  guaranteed. 


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the  rouge  that  stays  on 
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Pert  is  orange-colored  in  the  jar,  but 
its  wonderful  naturalness  comes 
from  the  fact  that  it  changes  to  an 
enchanting  pink  just  as  it  touches 
the  skin.  Although  it  is  a  cream 
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Apply  Pert  also  to  your  lips  and  to 
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Photoplay  Magazine — Advertising  Section 

Close-Ups  and  Long  Shots 

[  CONTINUED  FROM  PAGE  55  ] 

Covering  Up  Crime:  Inasmuch  as  the  cen- 
sors consider  any  suggestion  of  motherhood 
conducive  to  crime,  there  is  some  doubt  as  to 
whether  Pola  Negri  will  get  by  in  that  scene 
of  "Montmartre"  where  she  is  depicted  sew- 
ing a  baby  jacket.  She's  a  married  woman  in 
the  picture,  but  that  gives  her  no  license  to 
become  a  mother  under  the  laws  of  censorship. 
Therefore  Charles  Eyton,  the  studio  manager, 
suggests  a  title  be  inserted  to  read,  "This  is 
not  a  baby  jacket,  it's  a  blanket  for  the  dog." 

The  Crime  of  Being  an  Elephant:  Having 
killed  several  gentlemen  who  attempted  to 
direct  him,  Charlie,  the  histrionic  elephant  of 
the  Universal  studio,  was  ordered  shot  on  the 
charge  that  he  was  a  bad  actor.  On  the  same 
ground  a  general  massacre  might  be  decreed 
in  Hollywood.  It  is  highly  unfair  to  single 
out  Charlie  as  an  example.  But  nowadays  it 
seems  your  sin  is  in  proportion  to  your  weight. 
Thus  the  martyrdom  of  Charlie  and  Fatty. 

Hole-Proof  Drama:  For  the  most  moving 
dramatic  spectacle  of  the  month  I  award  the 
dramatic  works  of  Euripides  to  Miss  Mae 
Murray  for  that  scene  in  "The  French  Doll" 
which  she  enacts  entirely  from  the  knees  down. 

Card  of  Thanks:  The  biggest  money-making 
industry  of  Hollywood  is  no  longer  the  motion 
picture;  it's  real  estate.  Everyone  is  growing 
bootlegger  rich  from  investments.  Mary 
Pickford  says  the  scandals  with  attendant 
publicity  have  made  Hollywood  by  putting 
it  on  the  map.  The  other  day  I  bought  a  lot 
and.  before  I  made  my  first  payment,  sold  it 
for  five  hundred  profit. 


1  2 


ROSS  COMPANY 

73  Grand  Street  New  York 

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Pert 


the  Rouge 
that  Stays  on 


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Knocks  'Em  Dead  or  Alive:  Reading  my 
statement  in  the  September  Close-Ups  to  the 
effect  that  Harold  Lloyd  is  the  most  popular 
star  of  the  day.  Joseph  Patrick  Reddy,  press 
agent  for  Lloyd,  rushed  in  to  tell  me  that 
Harold's  "Safety  Last"  was  booked  for  two 
weeks  in  a  graveyard  and  played  to  capacity 
business. 

Above  Criticism:  "I  have  never  had  an 
adverse  criticism,"  remarked  a  young  actress. 
"In  fact,"  she  added,  to  impress  me  further, 
"I  have  never  had  any." 


Send  for 
your  sample 
today 


My  Screen  Lovers 

[  CONTINUED  FROM  PAGE  63  ] 

bubbling,  the  careless,  the  electric.  He  is  the 
man  who  would  perpetually  fascinate  you. 
He  would  never  be  monotonous,  no  matter 
how  long  you  might  know  him.  There  would 
never  come  a  time  with  Dick  Bennett  when 
you  would  watch  him  with  lack-lustre  eyes, 
bored  and  very  wise  to  him,  for,  long  before 
that  time,  he'd  be  whistling  down  the  lane 
after  some  other  girl.  You  wouldn't  expect 
constancy  from  him,  not  if  you  were  a  woman 
at  all  wise  in  the  ways  of  love.  But  while 
it  lasted,  you  would  have  a  carnival  love  with 
him,  a  ridiculously  impractical,  vivacious, 
pagan  love. 

And  last,  Montagu  Love.  I  think  if  I 
were  that  wise  woman  mentioned  above  I 
would  choose  a  man  like  Monty  Love  to  marry. 
For  he  is  the  real  husband  type. 

He  is  just  old  enough  to  appreciate  you, 
just  old  enough  to  know  contentment  and  its 
worth.  There  is  stability  in  his  love,  wisdom 
and  kindliness.  There  is  a  quiet  humor  that 
makes  him  recognize  this  fevered  emotion  as 
neither  one  extreme  nor  the  other.  If  I  may 
combine  such  terms,  I  should  say  his  is  the 
practical  love,  the  well-wearing  love,  the  love 
that  is  neither  the  sharp  fire  of  passion  nor 
the  cold  misery  of  indifference.  His  love 
would  be  protective,  enfolding,  gentle.  You 
would  get  neither  the  adoration  Bert  would 

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124 


Photoplay  Magazine — Advertising  Section 


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bestow  on  you,  nor  the  superior  smile  that 
Lionel  would  send  fluttering  your  way.  You 
are  much  closer  to  an  equal  with  Monty  Love 
than  with  the  other  three;  neither  a  goddess, 
nor  a  purchased  toy,  nor  a  momentary  play- 
fellow. You  feel  that,  with  him,  it  would  be 
till  death  did  you  part.  One  of  the  great 
faults  with  marriage  today  is  that  there  is  so 
little  friendliness  in  it.  With  Monty  you'd 
get  that  friendliness.  And  oh,  very  definitely, 
you'd  he  "  his  wife." 

Now  if  I  could  only  roll  the  four  of  these 
men  into  one!  Lionel  would  be  the  man  you'd 
look  up  to,  and  all  women  want  to  do  that. 
Bert  would  be  the  one  you'd  mother,  and  we 
all  yearn  for  that,  also.  You'd  play  laugh- 
ingly with  Dick,  safe  as  long  as  you  didn't  let 
your  heart  get  really  involved.  But  if  you 
did,  and  you  got  hurt,  you'd  come  back  to  the 
understanding  peace  of  Monty  Love  and  you'd 
be  taken  care  of. 

That's  what  I  think,  anyway.  But  I  can't 
find  out  too  positively,  for,  after  all,  they  are 
only  my  screen  lovers  and  I've  got  a  perfectly 
good  new  husband  that  belongs  to  me  really, 
and  he's  about  all  I  can  undertake  to  under- 
stand for  some  few  years,  at  least. 


"Our  Adela ' 

[  CONTINUED  FROM  PAGE  54  ] 

Her  words  drop  singly  as  spice. 

Dramatic  crescendoes.  Attar  of  atmosphere. 

She  is  the  most  vivid  of  the  young  short 
story  writers  in  America. 

Through  her  work,  first  in  Photoplay,  then 
in  Cosmopolitan,  Harpers'  and  Good  House- 
keeping, she  has  within  two  years  entered  the 
pale  of  the  high-salaried  few. 

Her  style  is  being  studied  by  the  young 
literati.  It  is  a  throw  back  to  the  French 
school  of  de  Maupassant,  yet  as  pungently 
American  as  O.  Henry. 

She  doesn't  know  she  has  a  style.  It's  her 
own  unstudied  expression,  which  happens  to 
be  in  vibration  with  Hollywood.  An  evoca- 
tion of  Hollywood. 

The  stress,  the  dramatic  tensity,  the  rich 
flamboyance  are  hers  as  well  as  Hollywood's. 

She  is  given  to  the  fanciful  hyperbole  of 
Gaellic  imagination,  to  violent  and  mercurial 
extremes.  She  storms  tempestuously  and 
shrieks  hilariously.  She  "adores"  and  she 
"loathes."  Life  is  "hectic"  and  all  humanity 
is  divided  into  two  parts,  "eggs"  and 
"peaches." 

Hollywood  calls  her  "Our  Adela" — and  the 
press  agent  adds,  "The  most  lovable  and  the 
most  unreasonable  woman  in  the  world." 

When  I  stormed  her  Chula  Vista  bungalow 
to  interview  her  for  Photoplay  I  had  to  force 
my  way  past  her  colored  butler,  who  shook 
his  head  with  dark  foreboding.  She  was,  he 
warned  me,  in  a  hectic  mood. 

I  found  her  passionately  thrumming  a  type- 
writer in  the  vine-shadowed  sun  room.  She  was 
wearing  black  silk  pajamas  and  scarlet  slippers. 

When  I  announced  that  I  had  come  to 
interview  her  as  ruthlessly  as  she  had  inter- 
viewed others,  she  shrieked,  embraced  me 
rapturous]} — and  threw  me  out  of  the  house. 

As  I  hurtled  over  the  terrace,  I  was  pro- 
claimed, simultaneously,  an  egg  and  a  peach. 

Bewildered  and  breathless,  I  swooned  into 
my  car  and  commanded  the  chauffeur  to  drive 
to  Pola  Negri's.  I  felt  the  need  of  rest  and 
quiet. 


"Our  Herb" 

[  continued  from  page  54  ] 

tact,  talk  to  every  woman  as  if  you  loved  her 
and  to  every  man  as  if  he  bored  you." 

That  is  the  secret  of  Herbert  Howe's  success 
as  an  interviewer.  ,  He  knows,  everybody 
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Photoplay  Magazine — Advertising  Section 


Who  and  What  is  Hope  Hampton? 


125 


CONTINUED  FROM  PAGE  57 


the  loquacious  maiden  into  an  animated  recital 
of  her  experiences  as  a  speaker  in  picture  houses 
and  how  she  never  permitted  the  "razzers"  to 
get  her  goat,  although  most  stars  were  so 
fussed  and  confused  before  a  not-quite-refined 
audience,  the  tough  boys  amusing  themselves 
by  throwing  pennies  to  express  their  contempt. 

"  I  give  them  back  as  good  as  they  give  me." 
said  the  Hibernian  Hope,  "and  when  they  see 
they  can't  fuss  me,  they  simply  settle  down." 

Although  it  was  delivered  guilelessly,  the 
pertinence  of  this  line  was  not  lost  on  me. 
Frankly,  it  is  my  strongest  impression  of  Hope 
Hampton.  She  told  me  that  she  had  no  expe- 
rience either  on  the  stage  or  in  the  pictures,  in 
fact,  never  had  held  any  kind  of  a  job  at  all 
prior  to  her  debut  in  "A  Modern  Salome."  She 
offered  no  explanation  of  the  colossal  piece  of 
luck  which  had  landed  her  without  a  single 
hard  knock  on  the  top  of  her  particular  heap, 
told  no  little  human  story  of  her  meeting  with 
her  first  Big  Opportunity. 

My  failure  as  an  interviewer  is  especially 
disheartening  to  me  in  consideration  of  these 
circumstances:  When  Miss  Hampton,  after 
our  one  and  only  meeting,  sent  me  a  set  of 
photographs  to  be  submitted  to  this  magazine, 


1  found  among  them  one  inscribed:  "To  Bland, 
dear,  lovingly  Hope  Hampton."  I  received  a 
telephone  call  from  Mr.  Brulatour,  who  was 
anxious  to  tell  me  that  I  had  made  an  awful  hit 
with  Hope,  that,  in  fact,  she  really  loved  me 
and  had  found  me  the  most  charming,  attrac- 
tive and  lovable  creature  God  ever  put  breath 
into.  Mr.  Brulatour  was  not  the  only  courier 
of  this  message.  A  few  mutual  friends  of 
Hope's  and  mine  betrayed  the  same  astonish- 
ing confidence.  They  further  instructed  me  to 
"say  something  nice  about  Hope."  Why 
should  this  question  be  raised?  Why  should 
any  one  dream  that  things  other  than  nice 
could  be  said  about  her?  She  is  pretty,  well- 
behaved,  generous,  fond  of  her  mother,  kind  to 
dumb  animals,  and  temperate.  The  Broadway 
phrase  "a  good  kid"  seems  to  tit  her  perfectly. 
But  Hope  Hampton,  non-professional,  does  not 
concern  this  story. 

What  conspicuous  ability  and  talent  war- 
rants her  being  featured  above  such  serious 
and  experienced  actors  as  Lew  Cody  and  Con- 
rad Nagel  in  "Lawful  Larceny"?  Will  the 
public  pay  for  her  pictures?  Does  the  public 
want  her?  Do  the  pictures  want  her?  Is  Hope 
Hampton  a  star?    Is  she  an  actress? 


The  Romantic  History  of  the  Motion  Picture 


CONTINUED  FROM  PAGE  66  ] 


perhaps  commonplace  view  of  scenery.  When 
super-imposed  and  held  to  the  light  together, 
they  presented  scenery  that  was  neither  simple 
nor  commonplace. 

Urban  invested  a  franc  in  these  cards,  hur- 
riedly and  furtively  installing  them  in  his  inside 
coat  pocket.  He  strolled  on  down  the  boule- 
vard, trusting  that  he  had  not  been  observed  in 
this  seeming  frivolity,  and  wondering  if  here  in 
these  silly  cards  might  not  be  something  re- 
lated to  the  secret  that  puzzled  the  week-end 
conferences  at  Brighton. 

With  those  cards  as  the  beginning  Urban  and 
Smith  tried  a  new  attack  on  the  color  problem. 
Instead  of  continuing  the  three  primary  color 
process,  as  Urban  puts  it,  "  we  jumped  over  the 
fence  of  theory,"  and  sought  the  same  result 
with  two  colors.  They  had  been  working  with 
red,  blue  and  yellow.  Now  they  divided  the 
yellow  between  the  red  and  the  blue,  thus  get- 
ting two  colors  to  play  with,  a  red-orange,  and 
a  blue-green. 

This,  if  it  worked,  would  immensely  sim- 
plify the  process  and  all  of  its  related  devices. 
Five  tedious  years  had  now  elapsed.  The 
solution  seemed  close  at  hand. 

A  Sunday  in  July,  1906,  came  and  all  was 
ready  for  the  first  test  of  the  two  color  prin- 
ciple. Camera  and  projector  were  waiting.  It 
was  a  beautifully  sunshiny  day  in  G.  Albert 
Smith's  garden  at  Brighton.  He  dressed  his 
little  boy  and  girl  in  gay  clothes  with  a  variety 
of  colors.  The  little  girl  was  in  white  with  a 
pink  sash,  the  boy  in  sailor  blue  and  carrying 
the  British  Union  Jack.  They  were  posed  on 
the  green  grass,  with  the  red  brick  of  the  house 
as  a  background. 

The  camera  was  loaded  wL  ,'a  fifty  foot 
length  of  prepared  color-sensitive  film  and  in 
thirty  seconds  an  expo>ure  had  been  ef- 
fected. 

Urban  and  Smith  went  together  into  the 
little  darkroom  in  a  corner  of  the  red  brick 
house  and  put  their  precious  film  into  the 
developer.  Because  the  film  was  color  sensi- 
tive, the  process  had  to  be  carried  on  in  abso- 
lute darkness,  lest  the  ruby  light  ordinarily 
used  fog  the  emulsion.  When  the  film  came 
out  of  the  hyposulphite  fixing  bath  it  was  at 
last  safe  to  look  at  it.  There  was  a  flaming 
thrill  as  the  experimenters  held  it  to  the  light 
and  noted  the  gradations  of  the  alternate 
frame--  of  the  film,  the  red  and  green  records. 


At  any  rate,  there  was  an  effect.  What 
it  might  be,  remained  to  be  tested  on  the 
screen. 

Two  feverish  hours  followed,  while  Smith 
and  Urban  dried  their  color  negative  and  made, 
developed  and  dried  a  positive  print  for  the 
projection  test. 

Then,  with  shades  drawn  to  darken  the  ex- 
perimental projection  room,  they  put  the  test 
picture  into  the  machine. 

The  projection  machine  was  equipped  with 
the  same  red  and  green  filters  as  the  camera, 
the  color  lesson  learned  from  the  absurd 
French  picture  cards.  It  was  the  hope  that  the 
picture  just  made,  projected  through  these 
filters,  would  combine  the  colored  light  rays 
and  endow  the  effect  on  the  screen  with  the 
tints  of  nature. 

The  test  film  flashed  through  its  fifty  feet  in 
half  as  many  seconds.  There  on  the  screen  for 
that  half  minute,  was  the  little  girl  in  white 
with  a  pink  sash  and  the  little  boy  with  his 
sailor  blue  suit.  And  the  grass  was  green  and 
the  bricks  of  the  house  were  red. 

"COR  the  first  time  in  the  world  a  motion  pic- 

*-  ture  in  natural  colors  was  projected  on  the 

screen. 

I    The  little  picture  was  hardly  half  through 

the  machine  when  Urban  leaped  up  and  yelled. 

"We've  got  it — we've  got  it!" 

His  voice  rang  out  very  loud  in  that  little 
projection  room. 

Smith  was  more  nonchalant.  He  smiled 
sagely. 

"I  thought  so — in  fact  I  was  so  sure  of  it  I 
have  taken  out  a  patent  on  it  in  my  name." 

Urban  gasped  and  swallowed  hard. 

It  was  rather  obvious  he  felt  that  the  patent 
should  have  been  taken  in  the  names  of  Urban 
and  Smith,  in  accordance  with  their  agreement 
and  in  keeping  with  the  spirit  of  their  cooper- 
ation. 

But  ahead  lay  the  bigger  problems  of  manu- 
facturing and  marketing  this  invention.  Ur- 
ban's  shrewdness  and  practicality  made  him 
hide  his  chagrin,  and  bide  his  time.  He  wanted 
Smith  to  go  ahead,  and  swiftly  decided  there  in 
the  projection  room  that  this  was  no  time  to 
come  to  an  issue.  Eventually  developments 
may  perhaps  indicate  that  it  would  have  been 
better  to  have  had  it  out  on  the  spot — perhaps 
it  would  have  made  no  ultimate  difference. 


•  II 


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Smith  and  Urban  wore  to  divide  t he  profits 
of  the  new  process.  Urban  was  at  that  time 
the  managing  director  of  the  Charles  Urban 
Trading  Company,  Ltd.,  and  in  charge  of  the 
Eclipse  concern  in  Paris.  He  resigned  Ids  posts 
with  these  concerns  and  sold  Ids  interest  in 
them  to  withdraw  and  devote  his  entire  atten- 
tion to  the  color  adventure,  now  named  "  Kine- 
macolor," from  the  obvious  and  simple  combi- 
nation of  cinema  or  kinema.  the  established 
Greek  or  English  adaptation  for  motion  pic- 
lure,  and  the  word  color. 

\yf  AY  day  of  1008  the  first  demonstration  of 
■•■"■Kinemacolor  was  made  at  the  opening  of 
Urbanora  House,  in  Wardour  Street,  which 
was  the  first  building  in  Europe  especially  con- 
structed for  the  film  trade.  Urbanora  House, 
by  the  way,  was  the  beginning  of  the  move- 
ment of  the  motion  picture  business  of  London 
to  Wardour  street,  now  known  as  Film  Row. 
the  successor  to  "Flicker  Alley"  of  Warwick 
Court.  The  next  showing  soon  followed,  a 
special  function  for  the  Rijjht  Honorable  Lord 
.Mayor  of  London  and  the  Sheriffs  of  London, 
accompanied  by  an  array  of  civic  dignitaries. 

Following  on  the  success  of  these  showings, 
Mr.  Urban  presented  his  process  for  scientific 
consideration  at  an  exhibition  on  December  g, 
iqo8,  at  a  meeting  of  the  Royal  Society  of  Arts. 
with  Sir  Henry  Truman  Wood  presiding. 
Kinemacolor  made  a  profound  impression  ami 
the  entire  issue  of  the  subsequent  number  of 
the  society's  journal  was  devoted  to  articles 
and  discussions  of  this  revolutionary  develop- 
ment in  the  art  of  the  motion  picture. 

Then  Kinemacolor,  walking  closely  in  the 
footsteps  of  the  infant  motion  picture  of  i8o(>, 
went  on  the  screen  for  the  public  at  the  Palace- 
theater  in  Shaftesbury  avenue,  London,  upon 
the  insistence  of  Alfred  Butt,  subsequently  Sir 
Alfred.  The  opening  was  at  a  special  matinee 
on  February  ?<).  tooo.  After  that,  beginning 
March  i  for  eighteen  months,  Kinemacolor 
was  included  on  the  Palace  program. 

Two  weeks  later  Urban  incorporated  and 
financed  the  Natural  Color  Kinematograph 
Company,  Ltd.,  with  a  nominal  capital  of 
30,000  pounds.  The  logical  next  step  of  the 
concern  was  to  acquire  the  patents  on  which 
the  Kinemacolor  proce>>  was  based.  G.  Albert 
Smith,  however,  demurred  at  accepting  half  of 
the  stock  for  his  interest  in  the  patent.  He 
wanted  cash.  Then  differences  were  arising 
between  the  erstwhile  partners.  Smith  ob- 
jected to  Urban's  deciding  vote  as  chairman  of 
the  board  of  directors  of  the  new  concern. 
Urban  apparently  was  more  impressed  with 
Smith's  scientific  ability  than  his  business 
acumen.  The  subject  was  debated  back  anil 
forth.  Smith's  lawyer  suggested  that  he  buy 
out  Urban. 

"There's  not  enough  money  in  all  of  Brigh- 
ton to  buy  me  out,"  Urban  responded.  He 
made  a  counter  proposal  and  Smith  gave  him 
an  option  for  one  week  for  250  pounds  at  a 
total  price  of  5,000  pounds,  or  $25,000,  for  his 
half  interest. 

By  this  time  Mr.  Urban  had  rather  thor- 
oughly invested  his  liquid  resources  in  the 
development  of  Kinemacolor.  lie  had  little- 
notion  of  where  or  how  he  was  going  to  get 
that  five  thousand  pounds,  on  such  terms  as 
would  let  him  keep  all  of  Kinemacolor. 

He  paid  over  the  250  pounds  to  Smith,  who 
chuckled  at  easy  money. 

Then  Urban  went  home  to  think  it  over. 
Mrs.  Urban  had  an  independent  fortune.  He 
propounded  his  predicament. 

"You  might  buy  out  Smith's  interest  and 
become  my  business  partner,"  Urban  sug- 
gested at  what  he  deemed  the  diplomatic  mo- 
ment over  the  after-dinner  coffee.  "I  think  we 
might  get  along  better.  Smith's  hard  to  man- 
age." This  may  or  may  not  have  been 
diplomacy. 

"You  mean,"  responded  Mrs.  Urban,  "that 
you  want  me  to  buy  something  in  which  Mr. 
Smith  has  lost  faith!" 

"You  do  not  have  to  put  faith  in  Kinema- 
color, just  have  faith  in  my  judgment." 

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it  i>  different.  By  the  end  of  the  week  Mrs. 
Urban  bought  H.  Albert  Smith's  interest  in 
Kinemacolor  for  $25,000 — a  fortune  to  the 
experimenter  at  Brighton. 

A  condition  of  the  purchase  included  a  con- 
tract  for  Smith's  exclusive  services  for  500 
pounds  a  year  for  five  years.  In  that  period 
he  was  not,  according  to  the  termi  of  the  agree- 
ment, to  participate  in  the  efforts  of  any  other 
experimenter  in  natural  color  photography. 

A  series  of  promotional  showings  of  Kinema- 
color followed.  On  March  24.  1900,  the  first 
exhibit  in  France  was  given  before  the  mem- 
bers of  the  Institute  of  Civil  Engineers  in  Paris. 
The  showing  somewhat  sensationally  included 
pictures  of  the  Grand  Prix  motor  races  at 
Dieppe,  photographed  by  Kinemacolor  the  day 
before. 

A  swift,  world-wide  career  for  Kinemacolor 
ensued,  with  engagements  in  Berlin  at  the 
Wintergarten,  the  Tiergarten  and  the  Passage 
Theatre,  Untcr  den  Linden;  the  I'olics  Bergere 
in  Paris,  and  others  of  the  principal  capitals  of 
Europe.  Foreign  rights  were  sold  in  Australia, 
Argentine,  Austria,  Italy,  all  the  Scandinavian 
countries,  Russia  and  many  lesser  countries. 
Five  road  companies  took  the  new  color  pic- 
tures through  the  British  Isles. 

But  the  United  States  was  then,  as  now,  the 
dominant  factor  of  the  world  trade  in  motion 
pictures  and  Urban  looked  to  America  as 
Kinemacolor  territory  with  a  special  interest. 

A  press  and  trade  display  of  Kinemacolor 
was  given  on  December  n,  1909,  in  the  Con- 
cert Hall  of  Madison  Square  Garden,  New 
York.  This  was  America's  first  sight  of  motion 
pictures  in  natural  colors.  Internally  and 
secretly,  the  motion  picture  industry  of  the 
United  States  was  apathetic  toward  the  revolu- 
tionary process.  All  of  the  makers  of  pictures 
were  making  enough  money  and  enough 
trouble  among  themselves  to  absorb  all  their 
capacity  for  interest.  It  is  true  that  the 
Motion  Picture  Patents  Company  group  was 
supposed  to  have  sent  one  of  its  members  to 
London  to  look  into  the  Kinemacolor  process, 
but  Urban  is  unable  to  recall  that  this  emissary 
ever  reached  the  Kinemacolor  establishment. 


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THE  ten  members  of  the  Patents  company 
group  occupied  the  choice  seats  at  the  Madi- 
son Square  Garden  showing.  It  was  antici- 
pated by  Urban  that  this  group  would  natur- 
ally desire  to  control  and  exploit  Kinemacolor 
in  the  United  States.  It  presented  a  new  op- 
portunity, and  if  the  successes  of  the  processes 
elsewhere  in  the  world  were  to  be  taken  as  an 
index,  it  was  a  large  commercial  opportunity. 
Furthermore,  since  the  products  of  Urban  stu- 
dios for  the  making  of  ordinary  black  and 
white  motion  pictures  were  sold  through  the 
licensed  exchanges  of  the  General  Film  Com- 
pany, the  political  situation  seemed  favorable. 

The  showing  of  the  picture  was  a  pro- 
nounced success,  largely  attended.  There 
were  many  strangers  in  the  room,  there  with 
a  casual  curiosity.  They  sat  and  marvelled. 
Among  them  was  one  of  future  importance, 
G.  H.  Aymar,  a  real  estate  dealer,  who  had 
chanced  into  New  York  from  Allentown,  Pa. 
Some  one  had  given  him  a  pass  to  the  showing  of 
natural  color  pictures  and  he  had  come  merely 
because  the  evening  had  offered  nothing  more 
interesting.  He  stayed  through  the  show  and 
perhaps  lingered  a  bit  afterwards  to  gather  the 
fact  that  the  American  rights  on  the  wondrous 
invention  were  for  sale.  Then  he  hurried  away 
to  Allentown,  rilled  with  an  idea. 

An  outwardly  enthusiastic  and  informal 
meeting  of  the  Patents  company  group  fol- 
lowed the  showing.  Urban  was  warmly  con- 
gratulated. It  was  agreed  that  he  should  be 
paid  a  quarter  of  a  million  dollars  for  his  Ameri- 
can rights  on  Kinemacolor,  each  of  the  ten 
members  of  the  Patents  company  aggregation 
to  take  shares  in  the  sum  of  twenty-five  thou- 
sand dollars.  The  formalities  were  to  be  con- 
cluded the  next  morning  at  an  appointed  time 
and  place. 

They  shook  hands  all  around  and  Urban  was 
muchly  patted  on  the  back.  The  last  man  to 
leave  the  room  was  William  F.  Rock,  the  same 


r 

LOVE 

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Business  advancement 

LOST 

How  often  have  these  tragedies  oc- 
curred. Old  love  forgotten  and 
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hair.  Business  advancement,  even 
position  lost  at  this  sign  (often  so 
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Formerly  you  had  to  suffer.  Hair 
color  restorers  would  show,  ulti- 
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Science  Has  Now  Perfected 
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Now  scientists  have  perfected 
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Tausig's  Improved  is  not  only  effective 
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and  Endorsed  by  16  Professors  of  lead- 
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way?     It  all  depends  on  what  you  do  with  your  spare  time. 

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we  are  doing  for  them  and  what  we  can  do  for  you. 

Mail  the  Coupon  To-day 

"  INTERtlAfilONAL  CORRESPONDENCE  SCHOOLS 

Box  648  I -B,  Scranton,   Penna. 
Without  cost  or  obligation  on  my  part,   please  tell  me 
how  I  can  qualify  for  the  position  or  In  the  subject  be/ore 
which  I  have  marlied  an  X : 

BUSINESS  TRAINING  COURSES 


□  Business  Management 

□  Industrial  Management 

□  Personnel  Organization 

□  Traffic  Management 

□  Business  Law 

□  Banking  and  Banking  Law 


□  Salesmanship 

□  Advertising 

□  Better  Letters 

□  Show  Card  Lettering 

□  Stenography  and  Typing 

□  Business  English 


□  AccountancydncludlngC.P.A.)  □  Civil  Service 


□  Cost  Accounting 

□  Bookkeeping 

□  Private  Secretary 
□Spanish         D  French 

TECHNICAL    AND 

□  Electrical  Engineering 
D  Electric  Lighting 

□  Mechanical  Engineer 
OMechanical  Draftsman 

□  Machine  Shop  Practice 
QRailroad  Positions 

□  Gas  Engine  Operating 

□  Civil  Engineer 

□  Surveying  and  Mapping 

a  Metallurgy         □  Mining 
Steam  Engineering  □  Radio 


□  Railway  Mall  Clerk 

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□  Architect 

□  Blue  Print  Reading 

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B Chemistry    □  Pharmacj 
Automobile  Work 

□  Airplane  Engines 

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□  Mathematics 


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Occupation 

Persons  residing  in  Canada  should  send  this  coupon  to  the 

international    Correspondence   Schools   Canadian,    Limited, 

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"Pop"  Rock  of  Vitagraph  fame.  He  remem- 
bered with  some  sincere  appreciation  the  event 
of  years  before  when  Urban's  plea  to  McGuire 
and  Baucus,  Edison  agents,  had  saved  the 
little  Rock  picture  show,  storm-stranded  in  the 
South. 

Rock  edged  up  to  Urban  and  spoke  behind 
his  hand. 

"Charlie  —  let  me  slip  you  something 
straight.  These  fellows  are  just  kidding  you. 
I  sat  there  along  with  the  rest  of  them  and 
promised  to  put  up  my  twenty-live  thousand, 
but  they'll  never  ask  me  for  it.  They  don't 
want  Kinemacolor  here  and  they  won't  go 
through  with  it.  It's  scared  them.  You'll 
never  get  away  with  it — you  watch." 

Urban  was  disturbed  but  not  convinced. 

The  next  day  he  turned  up  for  the  appoint- 
ment to  close  the  deal  and  waited  two  hours. 
No  one  appeared.  Word  came  that  the  Pat- 
ents company  crowd  was  in  an  important  con- 
ference over  the  projected  making  of  some 
prize  fight  pictures.  They  would  see  Urban 
later.  Repeated  efforts  through  the  day  re- 
sulted in  an  appointment  for  dinner  with  the 
executive  committee,  at  the  Republican  club, 
that  fated  spot  where  so  much  of  the  secret 
history  of  the  motion  picture  has  been  enacted. 

Seated  at  dinner,  Urban  tactfully  as  may  be, 
opened  the  subject. 

"Let's  not  talk  shop  at  dinner,"  they  re- 
proved him.  "After  dinner  we'll  get  at  it  and 
clean  the  thing  up."  This  from  the  captain  of 
an  industry  which  does  all  of  its  work  over  the 
lunch  table. 

After  dinner  Urban  again  tried  to  open  the 
subject  of  Kinemacolor. 

"Now  we  want  to  relax  a  little,  first.  We 
don't  like  to  talk  business  right  after  dinner. 
We'll  just  have  a  few  hands  of  poker  first." 

Up  in  a  private  room  in  the  club  the  august 
gathering  seated  itself  for  the  consideration  of 
what  may  happen  with  five  cards,  joker  wild. 
The  night  wore  on,  with  Urban  more  inter- 
ested in  his  Kinemacolor  contract  than  the 
cards. 

"Just  a  couple  of  rounds  more,  and  we'll  go 
into  that." 

ONE  in  the  morning  came  and  the  game 
broke  up.  Urban  was  conspicuous  among 
the  contributors  of  the  evening's  diversion  in 
the  sum  of  perhaps  five  hundred  dollars. 

"Now  about  that  Kinemacolor  contract,"  he 
remarked  cheerfully. 

"Oh,  not  now — we  are  all  tired  out  now." 

Urban  went  away  to  his  hotel  a  trifle  an- 
noyed. In  fact,  he  was  so  much  annoyed  that 
on  second  thought  he  decided  to  return  to 
London  at  once  and  let  the  deal  go  hang. 

The  next  afternoon  he  sailed. 

The  facts  were  apparent.  The  motion  pic- 
ture chieftains  of  the  United  States  did  not 
want  any  ventures  in  color.  They  were  mak- 
ing easy  millions  in  black  and  white  pictures. 
This  color  process  was  to  them  strange,  com- 
plicated and  speculative.  The  status  quo 
suited  them  immensely.  Why  disturb  it? 
They  were  making  money,  why  be  concerned 
about  making  pictures? 

Urban's  ship  was  hardly  clear  of  Ambrose 
channel  when  a  stranger  and  an  unknown  in 
the  motion  picture  world  dashed  into  New 
York  in  a  heated  quest  of  the  proprietor  of 
Kinemacolor. 

These  men  were  Gilbert  Henry  Aymar  and 
James  Klein  Bowen,  the  latter  a  wealthy 
wholesaler  of  groceries,  who  had  arrived  in 
haste  from  Allentown,  Pa.  They  wanted  to 
see  the  proprietor  of  Kinemacolor.  At  the 
hotel  they  were  informed  that  Charles  Urban 
had  sailed.  They  booked  passage  and  followed 
on  the  next  ship. 

Aymar  had  filled  Bowen  with  his  own  en- 
thusiasm for  Kinemacolor.  On  their  arrival  in 
London  they  found  Urban  willing  to  dispose 
of  his  American  rights  with  great  dispatch. 
New  York  was  a  bad  taste  in  his  mouth  and 
he  was  glad  to  be  done  with  this  thing  promptly. 
Aymar  and  Bowen  acquired  Kinemacolor  for 
the  United  States  on  an  agreement  to  pay 
$250,000  for  the  patents  and  certain  royalties. 


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The  Kinemacolor  Company  of  Uleatown, 
Pa.,  was  organized  and  the  grateful  organizers 
presented  Urban  with  a  certificate  for  a  block 
of  one  hundred  shares  of  stock,  which  consti- 
tuted his  sole  connection  with  the  concern. 
It  was  to  operate  entirely  independently  of 
Urban  and  his  British  company.  Mr.  Urban 
still  has  the  stock  certificate.  Its  value  i- 
doubtless  very  great — as  a  memento. 

The  Allentown  concern  rapidly  encountered 
difficulties,  and,  under  a  new  agreement  dated 
January  16,  ion,  George  H.  Burr  &  Co.  of 
New  York  completed  the  purchaseof  the  pa  tents 
from  Urban  and  organized  the  Kincmacolor 
Company  of  America.  Large  blocks  of  stock 
were  distributed  among  investors. 

J.  J.  Murdock,  now  a  vaudeville  magnate 
with  the  United  Booking  Office,  and  who  ap- 
peared earlier  in  this  history  in  connection  with 
the  International  Film  and  Projecting  concern 
of  the  early  Independent  days  of  'o8-'oq,  was 
made  the  president  of  the  concern,  which  also 
enjoyed  a  considerable  succession  of  managers. 

AMBITIOUS  production  activities  were  in- 
stituted with  a  flourish.  Studios  were  es- 
tablished at  Whitestone  Landing  on  Long 
Island,  and  at  Los  Angeles  yet  other  studios 
were  put  in  operation. 

David  Miles,  to  be  remembered  as  an  early 
member  of  the  Biograph  stock  company,  be- 
came the  director  in  chief.  It  was  about  this 
time  that  David  W.  Griffith  and  his  wife,  Linda 
Arvidson  Griffith,  parted  company,  Mrs.  Grif- 
fith went  to  Kinemacolor  as  the  leading  woman 
for  the  West  Coast  studios.  In  the  East,  at 
Whitestone  Landing,  William  Haddock  was 
the  principal  director. 

Many  pretention-  stories  were  put  into  pro 
duction,  among  them  Thomas  Dixon's  "The 
Clansman,"  which,  a  few  years  later  under 
Griffith's  auspices,  was  destined  to  mark  a 
meat  milestone  of  the  screen  as  "The  Birth  ol 
a  Nation."  Kincmacolor  produced  "The 
Clansman"  in  the  vicinity  of  New  Orleans  with 
the  members  of  a  traveling  stock  company  in 
the  cast.  Legal  complications  concerning  the 
right  to  the  Use  of  the  -lory  for  the  screen  arose 
and  the  picture  never  saw  the  light  of  a  theatre. 
The  negative  is  still  in  existence,  but  no  one 
knows  its  legal  -lata-,  or  whether  it  was  really 
completed.  Some  day  yet,  by  the  whimsies  of 
destiny,  it  may  come  to  the  screen. 

Abroad,  under  Urban's  administration,  Kin- 
cmacolor was  progressing  to  world  triumphs 
and  such  a  recognition  as  the  motion  picture 
had  never  before  received,  but  in  America  the 
path  was  erratic  and  strewn  with  troubles. 

The  first  theatre  showings  of  Kinemacolor 
pictures  were,  naturally  enough,  of  pictures 
purchased  from  the  British  concern.  Amazing 
accidents  overtook  these  exhibition-.  Kinema- 
color pictures  were  of  necessity  "Independent," 
being  so  thoroughly  outside  the  pale  of  Patents 
company  sanction.  Projection  machines  unac- 
countably got  out  of  order.  Films  broke  and 
burned.  Operators  made  mistakes  and  so  mal- 
adjusted their  machine-  that  the  red  and  green 
images  of  the  color  picture  were  reversed  with 
bizarre  but  trying  optical  effects  on  the  screen. 
Licensed  exhibitors  who  ventured  to  show 
Kinemacolor  pictures  found  their  licenses  can- 
celled by  the  Motion  Picture  Patent-  com 
pany,  which  brooked  no  use  of  Independent 
film.  Kinemacolor  went  through  a  career  of 
costly  failure  in  the  United  States  in 
a  period  when  it  was  making  millions  in  a 
world  success  elsewhere. 

The  California  studio  was  shut  down  and 
presently  the  eastern  studio  went  dark,  too. 
The  Kinemacolor  Company  of  America  went 
into  the  limbo  of  glories  that  never  dawned. 

The  most  important  and  significant  venture 
of  Kinemacolor  was  its  two-year  run  at  the 
Scala  Theatre  in  London  beginning  February 
22,  ion.  For  the  first  four  months,  while 
London  was  finding  the  obscure  Scala.  the 
show  ran  at  a  loss  of  $35,000,  and  in  the  next 
twenty  months  rose  to  the  success  betokened 
by  gross  receipts  of  83 20.000,  this  with  only 
920  seats. 

At  the  Scala,  Kinemacolor  drew  the  patron- 


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age  of  the  nobility  and  became  something  of  a 
furore  of  fashion.  A  large  factor  in  the  show 
and  the  great  high  light  of  the  history  of 
Kinemaeolor  was  the  Durbar  picture,  covering 
the  Royal  Visit  to  India  and  the  barbaric  splen- 
dors of  the  great  pageant  of  Delhi. 

Kinemaeolor  had  won  royal  recognition  be- 
fore when  Mr.  Urban  showed  Kinemaeolor 
before  King  Edward  VII  and  Queen  Alexandra. 
at  Knowsley,  in  July,  1909,  again  at  a  com- 
mand performance  for  Queen  Alexandra  at 
Sandringham  in  July,  191 1,  and  subsequently 
when  the  Coronation  Ceremonies  and  the  in- 
vestiture of  the  Prince  of  Wales  were  repro- 
duced at  Balmoral  Castle  by  command  of  King 
George  V  and  Queen  Mary.  This  royal  ap- 
proval presumably  influenced  His  Imperial 
Majesty  the  Emperor  of  Japan,  who  made  his 
first  indulgence  in  motion  pictures  a  three-hour 
Kinemaeolor  show  at  the  Mikado's  palace  in 
Tokio  the  next  year.  A  special  showing  was 
also  given  for  his  Holiness  the  Pope  at  the 
Vatican,  in  August,  1013. 

The  attainments  of  Kinemaeolor  in  India 
gained  notable  attention.  Sir  John  Hewitt,  in 
charge  for  the  Briti-h  government  at  Delhi. 
was  inclined  to  be  a  bit  abrupt  about  the  pic- 
ture making.  He  announced  that  he  would 
devote  thirty  minutes  to  making  the  arrange- 
ments for  the  Kinemaeolor  operators.  He  got 
absorbed  in  the  plans  and  spent  two  days. 

Rumors  of  hostile  plots  on  the  part  of  the 
black  and  white  film  competitors  of  Kinema- 
eolor floated  about.  It  was  whispered  that 
something  would  happen  so  that  Kinemaeolor 
would  never  reach  London  with  its  negatives. 
Whereupon  a  guard  of  British  troops  was  sta- 
tioned about  the  Kinemaeolor  tents,  where 
Urban  and  Joseph  du  Franc,  his  chief  of  the 
camera  staff,  developed  and  guarded  the 
precious  films.  A  great  pit  was  excavated 
under  Mr.  Urban's  tent  and  there  the  negatives 
were  buried  in  sand.  The  tent  floor  rug  was 
spread  over  the  spot  and  over  it  Urban's  bed 
stood.     He  slept  with  his  treasure. 

"D  ACK  in  London  Urban  made  elaborate  and 
-'-'pretentious  arrangements  for  the  presenta- 
tion of  the  Durbar  picture.  A  vast  stage  set 
reproducing  the  Taj  Mahal  was  built  at  the 
Sea  la.  Special  musical  scores  were  written  for 
the  pictures,  for  the  first  time  in  film  presenta- 
tion. The  orchestra  was  augumented  to  forty- 
eight  pieces.  There  was  a  chorus  of  twenty- 
four,  a  fife  and  drum  corps  of  twenty,  and  three 
Scotch  pipes.  Electric  lighting  color  effects 
were  installed,  all  on  a  scale  of  magnificence 
and  detailed  elaboration  that  is  commonly  sup- 
posed to  belong  exclusively  to  the  present  era 
of  Broadway  presentation. 

Urban  was  laughed  at  a  bit  by  his  competi- 
tors with  their  black  and  white  films,  which  had 
readied  London  in  advance  of  Kinemaeolor 
and  had  run  their  life  in  a  few  weeks.  But  he 
had  plunged  on  Kinemaeolor  and  went  on  to 
see  it  through.  The  opening  at  the  Scala  was 
a  brilliant  success  and  five  road  shows  went 
out  to  play  the  back  countries.  In  fifteen 
months  the  Durbar  pictures  grossed  three- 
quarters  of  a  million  dollars. 

Urban  was  on  the  high  tide  of  success. 

Royal  favor  beamed.  Arrangements  were 
made  for  a  royal  visit  to  the  Scala  to  see  the 
Durbar  presentation.    The  date  set  was  May 

II,   ICjI->. 

The  word  was  quietly  passed  to  Mr.  Urban 
that  it  would  be  well  for  him  to  acquire  court 
robes,  since  knighthood  awaited  him. 

May  to  came  and  all  was  prepared  for  the 
presentation.  Then,  abruptly.  Urban  was 
stricken  desperately  ill  in  his  office  and  went 
away  to  a  hospital,  on  the  verge  of  death.  It 
was  a  tragedy  strangely  reminiscent  of  the  un- 
fortunate death  of  Turner,  the  first  of  the  color 
inventors,  in  Urban's  office  some  years  before. 

The  night  that  the  royal  party  was  seeing 
the  Durbar  in  Kinemaeolor  Mr.  Urban  was 
coming  out  from  under  the  ether. 

The  party  at  the  Scala  included  King  George 
V,  Queen  Mary,  Queen  Alexandra,  the  Dow- 
ager Empress  of  Russia  and  some  thirty  other 
royal  personages. 

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Kinemaeolor  scored  a  triumph  and  an  un- 
kind fate  cost  Urban  a  knighthood.  It  was  one 
of  the  taps  of  fate.  Many  a  chapter  back  in 
this  story,  the  reader  can  recall  that  amusing 
day  when  the  same  Charles  Urban,  in  a  tall 
silk  hat  and  frock  coat  broke  into  the  office  of 
Marshall  Field  and  sold  him  a  set  of  books. 
The  American  book  agent  had  gone  far  on  his 
way. 

The  Kinemaeolor  process,  as  might  be  ex- 
pected, ran  through  the  course  of  litigations 
and  competing  claims  characteristic  of  well- 
near  every  invention.  Kinemaeolor  had  no 
more  than  well  established  its  success  when 
arose  William  Friese-Green,  the  perennial 
claimant  to  first  honors  in  photographic  inven- 
tion, with  a  suit  against  the  patents  under 
which  Urban  was  operating.  His  attack  was 
financed  by  S.  F.  Edge,  a  motor  car  man,  with 
whom  the  photographer  had  been  associated 
in  experimental  screen  work.  There  is  again  a 
curious  coincidence  in  this.  Turner's  backer, 
when  he  started  his  color  researches,  had  been 
a  race  horse  breeder.  Also  it  was  a  horseman 
who  financed  Muybridge  in  his  prc-screen  pic- 
ture work.  There  seems  to  have  been  some 
obscure  affinity  between  the  film  and  the  race 
track. 

Edge  called  upon  Urban  prior  to  the  filing 
of  the  patent  suit. 

"He  said  he  had  expended  6.500  pounds," 
remarked  Mr.  Urban,  "in  financing  Friese- 
Green's  color  work  on  which  a  patent  had  been 
obtained  and  said  he  would  upset  my  patent 
unless  I  put  up  8.000  pounds." 

Urban  answered  by  indicating  the  location 
of  the  door. 

T\  THEN  the  suit  was  brought  Urban  won  the 
**  verdict.  On  appeal  on  a  pinpoint  techni- 
cality, specifically  the  charge  that  the  Kinema- 
eolor patent  did  not  describe  with  sufficient  ac- 
curacy the  redness  of  the  red  and  the  greenness 
of  the  green  used,  the  patent  was  upset.  Urban 
took  the  case  to  the  House  of  Lords,  where  the 
decision  of  the  Court  of  Appeals  was  sustained. 

This  threw  the  basic  patented  process  of 
color  photography  open  to  the  world,  free  to 
any  one  to  operate.  Despite  this,  many  pat- 
ents have  since  been  issued,  both  in  Great 
Britain  and  the  United  States,  with  how  much 
fundamental  merit  the  reader  may  easily  guess. 

Kinemaeolor  went  on  its  commercial  way 
with  increasing  profits.  Baron  Henri  Roths- 
child bought  original  rights  on  the  continent 
and  sold  them  at  a  handsome  Rothschild  profit. 

Kinemaeolor  was  a  vital  factor  in  motion 
pictures  everywhere  save  the  United  States. 
In  August,  1914,  the  World  War  began  and 
the  motion  picture  industry  of  Europe  passed 
into  virtual  eclipse,  Kinemaeolor  along  with  it. 

Presently,  abandoning  the  European  field. 
Urban  removed  to  New  York,  locating  his 
Kineto  Company  of  America  at  Sixth  Avenue 
and  Twenty-third  Street  in  the  Masonic  Tem- 
ple building,  just  across  the  corner  from  the 
s  pot  where  the  Armat  Vitascope  introduced  the 
motion  picture  screen  to  the  amusement  world 
in  1896. 

The  Kinemaeolor  library  of  negatives,  with 
its  remarkable  collection  of  pictures  of  person- 
ages from  Kaiser  Wilhelm  to  the  Gaekwar  of 
Baroda  in  the  days  of  their  magnificence  and 
splendor,  is  probably  the  world's  most  valuable 
film  from  a  historic  point  of  view.  It  was 
destiny  that  Kinemaeolor  should  record  the 
last  of  the  days  of  the  monarchs,  their  trap- 
pings and  panoplies  and  splendors,  their  great 
fleets  and  their  gayly  uniformed  show  troops 
and  armies.  The  military  world  has  become 
field  grey  and  khaki  since  then,  and  the  glory 
of  the  kings  is  gone.  The  one  visual  record  of 
their  past  greatnesses  is  in  Kinemaeolor. 

The  end  is  not  yet  for  Kinemaeolor  and  there 
are  indications  as  this  is  written  that  perhaps 
it  will  come  to  the  screen  again  under  the  new 
name  of  Kinekrom,  and  still  under  the  control 
of  Charles  Urban. 

The  story  of  color  must  include  something 
of  the  annals  of  Prizma  and  similar  processes, 
more  familiar  to  the  motion  picture  audiences 
of  today  than  Kinemaeolor. 


V 


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From  an  early  chapter  of  the  story  of  Rio- 
graph  the  name  of  William  Van  Doren  Kelley 
may  he  recalled.  Kelley,  after  leaving  Bio- 
graph,  went  into  the  general  field  of  invention 
and  evolved  a  winking  electric  light  for  sign-. 
which  occupied  his  attention  some  years.  In 
1012,  after  an  absence  of  nearly  a  decade,  he 
come-  into  motion  picture  affairs  again.  Kel- 
ley. working  in  his  experimental  shop  back  of 
a  garage  in  Hoboken.  X.  J.,  had  turned  again 
to  the  motion  picture.  He  had  a  notion  that 
there  would  be  a  wider  market  and  a  safer 
commercial  future  for  color  pictures  if  the  color 
could  be  actually  put  into  the  film  instead  of 
depending  on  the  operator's  manipulation  of  a 
projection  machine  equipped  with  color  filters. 
From  this  idea  evolved  a  process,  complicated 
and  delicate,  which  promised  success. 

One  day,  while  pondering  his  problems,  Kel- 
ley was  strolling  Broadway  when  he  encoun- 
tered E.  B.  Koopman.  the  same  Koopman  who 
figured  in  that  primeval  period  of  the  motion 
picture  when  the  K.  M.  C.  D.  syndicate  was 
organized  to  grow  into  Biograph.  To  Koop- 
man, Kelley  unfolded  his  ideas.  Once  again 
Koopman  was  aflame  with  a  promotional  idea. 

Down  in  Wall  Street,  where  he  had  gone  to 
promote  Biograph,  Koopman  found  backers  for 
the  Kelley  process  and  Prizma,  Inc.,  was  born. 
Approximately  $600,000  went  into  the  concern 
by  the  time  its  commercial  history  began  with 
the  showing  of  pictures  of  Kilauaue's  Lake  of 
Fire,  the  old  Hawaiian  volcano  classic,  on  the 
Rivoli  theatre's  anniversary  program,  on 
Broadway  in  1918. 

In  1921,  Prizma's  most  pretentious  product 
came  forth  in  J.  Stuart  Blackton's  "The  Glor- 
ious Adventure,"  with  Lady  Diana  Manners 
in  the  leading  role,  a  success  abroad  and  some- 
thing less  than  that  on  the  American  market — 
but  that  is  another  story. 

THE  final  verdict  on  the  Prizma  process,  and 
the  many  similar  ones,  including  Techni- 
color, Colorcraft  and  others,  is  yet  to  be  re- 
turned. 

Natural  color  on  the  screen  has  many  skep- 
tics, some  who  are  aggressively  opposed  and  a 
majority  who  are  indifferent,  among  the 
makers  of  motion  pictures. 

The  color-in-the-film  processes  of  which 
Prizma  was  the  first  and  perhaps  the  best 
example,  were  well  calculated  to  command  at- 
tention in  the  time  when  the  cost  of  projection 
equipment  was  an  important  factor  to  the 
theatre.  Kinemacolor  with  its  special  projec- 
tion equipment,  found  this  an  obstacle.  But 
with  today's  theatres  costing  from  a  quarter 
of  a  million  up  into  multiples  of  millions,  the 
special  machines  required  for  the  original  pro- 
jection process  would  be  considered  a  casual 
and  incidental  investment.  This  fact  may  con- 
siderably influence  the  future  history  of  color. 
And  the  history  of  color  has  just  begun. 

Following  the  course  of  color  has  brought  us 
far  ahead  of  the  main  current  of  motion  picture 
affairs.  In  the  next  chapter  we  shall  pick  up 
the  main  thread  again,  and  uncover  some  for- 
gotten pages  of  the  wars  of  the  screen  kings, 
involving  the  amazing  dramatic  sequel  of  "The 
Luck  of  the  Lathams,"  a  story  never  told 
before. 

I  TO  BE  CONTINUED  1 


Camera  Casualties 

THE  gambling  mania  which  seizes  you  at 
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in  Hollywood.  If  the  movie  camera  doesn't 
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member  of  the  Screen  Writers'  Guild,  is  among 
the  latest  sufferers.  When  the  proofs  were 
presented  he  was  visibly  shaken: 

"That  photographer  not  only  got  every 
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he  sobbed,  and,  with  another  glance  at  the 
rumpled  vision:  "My  God,  that  face  looks 
as  though  it  had  been  slept  in  for  a  week."    . 


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Casts  of  Current  Photoplays 

[  CONTINUED  FROM  PAGE  IIO  ] 


"TIIK  DESTROYING  ANGEL"— Asso- 
ciated Exhibitors — From  the  novel  by  Louis 
Joseph  Vance.  The  east :  Mary  Miller  of  Fifth 
Avenue,  New  York,  Sara  Li.ru:  of  the  "Lip 
Stick  Revue,"  Leah  Baird;  Max  Wiek,  theatrical 
manager,  Ford  Sterling;  Hugh  Miller  Whittaker, 
attorney,  John  Bowers;  Curtis  Drummond,  his 
partner  in  the  firm,  Noah  Beery;  "Strangler" 
Olesen,  Mitchell  Lewis.  Bathing  Girls:  Lotta 
Figure,  Clarice  Joel;  Ethel  Trimmer,  Glad  Sur- 
face; .Mrs.  Gerald  Vanslack,  Clara  Norman. 

" SHATTERED  REPUTATIONS"— Lee- 
Bradford — The  cast:  Henry  Wainwright, 
Johnnie  Walker;  Sis  Hoskins,  Jackie  Saunders; 
Dave  Hoskins,  John  Mordaunt;  Joe  Hoskins, 
Alfred  Lewis;  Charles  Osborne,  Fred  Stone- 
house;  Stephen  Wainwright,  Arthur  Bowan; 
Fannie  Wainwright,  Helen  Grant;  Vasco  De 
Gama  Bylcs,  Torrance  Burton. 

"  RUNNING  WILD  "  —  Educational  — 
Director,  Norman  Taurog.  Photography  by 
Francis  Corby  and  George  Neehen.  The  cast: 
l.ige  Conley,  Earl  Montgomery,  Cliff  Bowes, 
Lillian  Hackett,  Jack  Lloyd. 

"HIGH  LIFE  "—Education  al— Director, 
Hugh  Fay.  Photography  by  Irving  Reis.  The 
cast:  Lige  Conley,  Lillian  Hackett,  Otto  Freis, 
Jack  Lloyd,  Eva  Thatcher. 

"TEA  WITH  A  KICK'— Associated  Ex- 
hibitors— Story  by  Hugo  Halperin.  Direc- 
tor, Eric  C.  Kenton.  The  cast:  Bonnie  Day, 
Doris  May;  Art  Binger,  Creighton  Hale;  Jim 
Day,  Ralph  Lewis;  Aunt  Pearl,  Rosemary 
Theby;  Napoleon  Dobbin  gs,  Stuart  Holmes; 
Irene,  danseilse,  Irene  D'Annelle;  Hcsperis 
McGowan,  Gale  Henry;  Mrs.  Juniper,  Dot 
Farley;  Birdie  Puddleford,  Louise  Fazenda; 
Kiltie  Wiggle,  reformer.  Dale  Fuller;  Editor 
Oclavius  Juniper,  Edward  Jobson;  Mrs.  Bump, 
reformer.  Spike  Rankin;  Rev.  Harry  While. 
Harry  Lorraine;  Pietro,  Sidney  D'Albrook; 
King  Kick,  Tiny  Ward;  Convict  Dooley,  Earl 
Montgomery;  Hazel,  Hazel  Keener;  Given  Van 
Peebles,  Julanne  Johnston;  Napoleon,  William 
De  Vaull;  Sam  Spindle,  Hank  Mann;  "Brainy" 
Jones,  Zasu  Pitts;  Jiggs,  the  Taxi,  Chester 
Conklin;  Oscar  Puddleford,  Snitz  Edwards;  A 
Business  Man,  William  Dyer;  Kriss  Kringle, 
Harry  Todd;  Convict  llooney,  Billey  Franey; 
Bellboy  13,  Victor  Potel. 

"A  CHAPTER  IN  HER  LIFE"— Univer- 
sal— From  the  novel  by  Clara  Louise  Burn- 
ham.  Scenario  by  Lois  Weber.  Director,  Lois 
Weber.  Photography  by  Ben  F.  Kline.  The 
cast:  Mr.  Everingham,  Claude  Gillingwater; 
Jewel,  Jane  Mercer;  Eloisc.  Everingham, 
Jacqueline  Gadsden;  Madge  Everingham, 
Frances  Raymond;  Dr.  Ballard,  Robert  Fra- 
zier;  Mrs.  Forbes,  Eva  Thatcher;  Zcke  Forbes, 
Ralph  Yearsley;  Nat  Bonne!!,  Fred  Thomson; 
Susan,  Beth  Rayon. 

"DOES  IT  PAY"— Fox— Story  by  Beatrice 
Dovskie.  Director,  Charles  Horan.  The  cast: 
Doris  Clark,  Hope  Hampton;  John  Weston, 
Robert  T.  Haines;  Martha  Weston,  Florence 
Short;  Jack  Weston  Walter,  Petri;  Alice  Weston, 
Peggy  Sha'w;  Senator  Delajield,  Charles  Welles- 
lev;  Marion,  Mary  Thurman;  Attorney  Alden, 
Claude  Brooke;  Harold  Reed,  Pierre  Gendron; 
Francois  Chavelle,  Roland  Bottomley;  Mrs. 
Clark,  Marie  Shotwell;  The  Boy,  Bunny 
Graucr. 

"THE  UNTAMABLE"  —  Universal  — 
Story  by  Gelett  Burgess.  Scenario  by  Hugh 
Hoffman.  Director,  Herbert  Blache.  Photo- 
graphy by  Howard  Oswald.  The  cast:  Edna 
Fielding,  Joy  Fielding,  Gladys  Walton;  Chester 
Castle,-  Malcolm'  McGregor;  Dr.  Copin, -John  I 
Sainpolis";  Ah  Moy,  Etta  Lee. 


"THE  MIDNIGHT  ALARM"  —  Vita- 
graph — Scenario  by  C.  Graham  Baker.  Direc- 
tor, David  Smith.  Photography  by  Steve 
Smith,  Jr.  The  cast:  Sparkle,  Alice  Calhoun; 
Capl.  Harry  Westmore,  Percy  Marmont; 
Chaser,  Cullen  Landis;  Silas  Carringford, 
Joseph  Kilgour;  Aggie,  Maxine  Elliot  I  Ticks 
Mr.  Tilwell,  George  Pierce;  Mrs.  Tilwell, 
Kittie  Bradbury;  Springer,  J.  Gunnis  Davis; 
Mrs.  Thornton,  Alice  Calhoun;  Susan,  Jean 
Carpenter;  Mrs.  Berg,  May  Foster;  Bill,  Ered 
Behrlc. 

"DAYTIME  WIVES"— F.  B.  O.— Story 
by  Lenore  Coffee  and  John  F.  Goodrich. 
Adapted  by  Wyndham  Gittens  and  Helmer 
Bergman.  Director,  Emile  Chautard.  Photo- 
graphy by  Lucien  Andriot.  The  cast:  Ruth 
Holt,  Derelys  Perdue;  Elwood  Adams,  Wynd- 
ham Standing;  Franeine  Adams,  Grace  Dar- 
mond;  Amos  Marl  in  M'\\\\i\mConk\in;Ben  Bran- 
soom,  Edward  Hearn;  Belly  Bransoom,  Kath- 
arine Lewis;  Larry  Gilfeathcr,  Kenneth  ( iib-on; 
Celeste,  Christina  Montt;  Jack  Jaguar,  Jack 
Carlyle;  A  Laborer,  Craig  Biddle,  Jr. 

"THE  SILENT  PARTNER"  — Para- 
mount— From  the  story  by  Maximilian  Foster. 
Scenario  by  Sada  Cowan.  Director,  Charles 
Maigne.  Photography  by  Walter  Griffin. 
The  cast:  Lisa  Coburn,  Leatrice  Joy;  George 
Coburn,  Owen  Moore;  Ralph  Coombes,  Robert 
Edeson;  Harvey  Dredge,  Robert  Schable;  Cora 
Dredge,  Patterson  Dial;  Jim  Harker,  E.  H. 
Calvert;  Gertie  Page,  Maude  Wayne;  Mrs. 
Ncsbit,  Bess  Flowers;  Mrs.  Harker,  Lura  An- 
son; Owens,  Bert  Woodruff;  Chas.  Ncsbit, 
Robert  Grey. 


"BLINKY" — Universal — Story  by  Gene 
Markey.  Scenario  by  Edward  Sedgwick. 
Director,  Edward  Sedgwick.  Photography  by 
Virgil  Miller.  The  cast:  Geoffrey  Arbulhnot 
I  slip  (Blinky),  Hoot  Gibson;  Mary  Lou  Kil- 
iccn,  Esther  Ralston;  Mrs.  I  slip,  Mathilde 
Brundage;  Col.  "Raw  Meal"  Islip,  DeWilt 
Jennings;  Priscilla  J  slip,  Elinor  Field;  Bertram! 
Van  Dusen,  Donald  Hatswell;  Major  Killecu. 
Charles  K.  French;  Husk  Barton,  John  Judd; 
Lieutenant  Rawkins,  William  E.  Lawrence; 
The  Adjutant,  W.  T.  McCulley. 

"THREE  AGES"  —  Metro  —  Story  and 
titles  by  Jean  Havez,  Joe  Mitchell,  Clyde 
Bruckman.  Director,  Buster  Keaton  and 
Eddie  Cline.  Photography  by  William  Mc- 
Gann  and  Elgin  Lessly.  The  cast:  Buster 
Keaton,  Margaret  Leahy,  Wallace  Beery,  Joe 
Roberta,  Lillian  Lawrence,  Horace  "Cupid" 
Morgan. 

"THE  EAGLE'S  FEATHER  "—Metro— 
Story  by  Katherine  Newlin  Burt.  Adapted  1  y 
Winifred  Dunn.  Director,  Edward  Sloman. 
Photography  by  George  Rizard.  The  cast: 
Delila  Jameison,  Mary  Alden;  John  Trent. 
James  Kirkwood;  Mrs.  Trent,  Rosemary 
Theby;  Jeff  Carey,  Lester  Cuneo;  Martha, 
Elinor  Fair;  Van  Brewen,  George  Seigman; 
Count  de  Longe,  Crauford  Kent;  Parson 
Winger,  John  Elliott;  The  Irishman,  Charles 
McHugh;  The  Swede,  William  Orlamond; 
Wing  Ling,  Jim  Wang. 

"THE  FRENCH  DOLL"— Metro— Base.  1 
on  French  play,  English  adaptation  by  A.  I-:. 
Thomas.  Adapted  by  Frances  Marion.  Direc- 
tor, Robert  Z.  Leonard.  Photography  by 
Oliver  T.  Marsh.  The  cast :  Gcorginc  Mazulier, 
Mae  Murray;  Wellington  Wick,  Orville  Cald- 
well; Pedro  Carrova,  Rod  La  Rocque;  Madame 
Mazulier,  Rose  Dion;  Monsieur  Mazulier,  Paul 
Cazenueve;  Joseph  Dumas,  Willard  Louis; 
Snyder,  Bernard  Randell;  Butler,  Lucien  Little- 
field. 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


"SALOMY  JANE  "—Paramount— Story 
by  Bret  Harte.  Scenario  by  Waldemar  Young. 
Director,  George  Melford.  Photography  by 
Bert  Glennon.  The  cast:  Salomy  Jane, 
Jacqueline  Logan;  Yuba  Bill,  George  Fawcett; 
The  Man,  Maurice  Flynn;  Gambler,  William 
Davidson;  Madison  day,  Charles  Ogle;  Col. 
Starbotllc,  William  Quirk;  Red  Pete,  Raymond 
Nye;  Mrs.  Pete,  Louise  Dresser;  Larahee,  James 
Neill;  Rufc  Waters,  Tom  Carrigan;  Baldwin, 
Clarence  Burton;  Mary  Ann,  Barbara  Brovver; 
Steve  Low,  Milton  Ross. 

"BILL" — Paramount — Prom  "Crainque- 
bille"  by  Anatole  France.  Bill.  Maurice  de 
Feraudy. 

"SECOND   HAND   LOVE  "—Fox— Story 

by  Shannon  Fife.  Scenario  by  Charles  Ken- 
yon.  Director,  William  Wellman.  The  cast: 
Andy,  Charles  Jones;  Angela,  Ruth  Dwyer; 
Dug'g;  Charles  Coleman;  Dcteetive,  Harvey 
Clark;  Deacon,  Frank  Weed;  Dugg's  Partner, 
James  Quinn;  Constable,  Gus  Leonard. 

"  THE  SIX-FIFTY  "—Universal— Story 
by  Kate  McLaurin.  Scenario  by  Harvey 
Gates  and  Lenore  Coffey.  Director,  Nat  Ross. 
The  cast:  Helen  Taylor,  Rente  Adoree;  Dan 
Taylor,  Orville  Caldwell;  "Cramp,"  Bert 
Woodruff;  Christine  Palmer.  Gertrude  Astor; 
Mark  Rutherford,  Niles  Welch. 

"APRIL  SHOWERS"— Preferred  Pic- 
tures— Story  and  continuity  by  Hope  Loring 
and  Louis  Duryea  Lighton.  Director,  Tom 
Forman.  Photography  by  Harry  Perry.  The 
cast:  Danny  O'Ronrke.  Kenneth  Harlan;  Mag- 
gie Muldoon.  Colleen  Moore;  Miriam  Welton, 
Ruth  Clifford;  Shannon  O'Ronrke.  Priscilla 
Bonner;  Mother  O'Ronrke.  Myrtle  Vane;  Matt 
Gallagher,  James  Corrigan;  "Flash''  Irwin, 
Jack  Byron;  "Champ"  Sullivan.  Ralph  Faulk- 
ner; Lieut.  Muldoon,  Tom  McGuire;  Ring 
Managers,  "Kid"  McCoy,  Danny  Goodman. 

"  RED  LIGHTS  "  —  Goldwyx  —  Adapted 
from  the  stage  play  "The  Rear  Car"  by 
Edward  E.  Rose.  Adapted  by  Carey  Wilson. 
Director,  Clarence  Badger.  Photography  by 
R.  J.  Bergquist.  The  cast:  Ruth  Carson,  Marie 
Prevost;  Sheridan  Scott,  Raymond  Griffith; 
Blake,  Johnnie  Walker;  Nor  ah  O'Neill,  Alice 
Lake;  Rosy,  Dagmar  Godowsky;  Luke  Carson, 
William  Worthington;  Kirk  Allen,  Frank 
Elliot;  Alden  Murray,  Lionel  Belmore;  Esra, 
Jean  Hersholt;  Porter,  George  Reed;  Hench- 
man, Charles  B.  Murphy;  Conductor,  Charles 
H.  West. 

"WHERE  IS  THIS  WEST?"— Universal 
— Story  by  George  C.  I  lull.  Scenario  by  Clyde 
De  Vinne.  Director,  George  E.  Marshall. 
Photography  by  Clyde  De  Vinne  and  Ray 
Ramsey.  The  cast:  John  Ilarley,  Jack  Hoxie; 
Sallic  Summers,  Mary  Philbin;  Bimbo  McGurk. 
Bob  McKenzie;  Buck  Osborne,  Sid  Jordan; 
Wild  Honey,  Slim  Cole;  Lawyer  Browns, 
Joseph  Girard;  Indian  Servant,  Bernard  Seigel. 

"THE  GUN  FIGHTER  "—Fox— Story  by 
John  Frederick.  Director.  Lynn  Reynolds. 
Photography  by  Jeff  Jennings.  The  cast: 
Billy  Buell,  William  Farnum;  Nellie  Camp, 
Doris  May;  Joe  Benehley,  L.  C.  Shumway;  Lew 
Camp,  J.  Maurice  Foster;  Marjorie  Camp,  Vir- 
ginia True  Boardman;  Alice  Benehley,  Irene 
Hunt;  Jacob  Benehley,  Arthur  Morrison; 
William  Camp,  Cecil  Van  Auken;  Henry 
Benehley,  Jerry  Campbell. 

"THE  LONE  STAR  RANGER"— Fox— 
From  the  novel  by  Zanc  Grey.  Scenario  by 
Lambert  Hillyer.  Director,  Lambert  Hillyer. 
The  cast:  Duane,  Tom  Mix;  The  Girl,  Billie 
Dove;  Lawson,  L.  C.  Shumway;  Poggin,  Stan- 
ton Heck;  Kane,  Ed  Peil;  Laramie,  Frank 
Glark;  Mrs.  Laramie,  Minna  Redman;  Lara- 
mie's son,  Francis  Carpenter;  Longslrelh, 
William  Conklin;  Captain  McNally,  Tom 
Lingham. 


33 


Professional  and  Amateurs 
Praise  Wurlitzer  Instruments 

I  am  proud  to  be  the  owner  of  one  of 

your  new  cornets.  The  tone,  tune  and 

valve  action  are  positively  superior  to 

any  I  have  experienced  in  all  my  years 

of  comet  playing." 

,„  ,  .  Harry  L.  Jacobs 

(Soloist  with  Sanaa's  Band,  Brooke'm 

MarineBand,  ChicagoGrand  Opera) 


'Ii  I  could  not  get  another  like  it,  my 
Wurlitzer  saxophone  could  not  be 
bought  from  me  for  $200.00." 

J.  Russet  David, 
Rockford.Ind 


Without  your  credit  system  it  would 
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First  National — By  Montague  Glass  and 
Charles  Klein.  Scenario  by  Frances  Marion. 
Director,  Clarence  Badger.  The  cast:  Morris 
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THEY  are  telling  a  very  amusing  story  about 
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j  story." 

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Photoplay  Magazine — Advertising  Section 

Questions  and  Answers 

[  CONTINUED  FROM  PAGE  89  ] 


'35 


Why  Good  Dancers 
Are  Popular 

THOUSANDS  of  men  and  women  are  compelled 
to  pass  up  many  a  Rood  evening's  fun  just  because 
they  don't  know  how  to  dance.  Yet  there  is  no 
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4S4  Broadway,  New  York     1 


Dept.  11GT5 


M.  L.,  Arctic,  R.  I. — No,  I  am  not  wearing 
a  moustache  this  summer.  Priscilla  Dean's  age 
is  twenty-seven  years.  Agnes  Ayres  was  the 
wife  of  Captain  Frank  P.  Schueker.  She  was 
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three.  I  know  I  once  told  you  nineteen.  I  had 
been  misled — I  mean  misinformed.  You  want 
my  photograph?  Dear  child,  why  not  preserve 
your  illusions?  You  may  think  I  am  a  sweet 
little  blonde  with  a  sky-blue  necktie.  Think 
me  thus,  an'  it  please  you. 

B.  R.,  Newburyport,  Mass. — Back  num- 
bers of  Photoplay  Magazine  can  be  secured 
by  writing  Photoplay  Publishing  Company, 
750  North  Michigan  Avenue,  Chicago,  111. 
Enclose  a  quarter  for  each  copy  requested. 

Nancy  Lee,  St.  Louis,  Mo. — Kind  you  are, 
but  wrong  you  are,  Miss  Nancy  Lee.  Tommy 
Meighan — everybody  calls  him  Tommy  sixty 
seconds  after  an  introduction,  even  though  he 
be  of  the  imposing  height  of  six  feet — was  not 
born  across  the  sea.  He  first  blinked  at  the  sun 
at  Pittsburgh.  Thither  he  went  only  recently 
to  pay  a  visit  to  his  aged  father.  His  filial 
visits  to  the  Smoky  City  are  many.  Nor  are 
they  fewer  since,  three  years  ago,  his  beloved 
mother  died. 

Ruth,  Des  Moines,  Iowa. — Your  wish 
came  true,  sweet  Ruth.  "The  waste  basket 
was  out  visiting"  when  I  read  your  letter. 
Don't  know  how  the  smile-illuminated,  dusky- 
skinned  janitor  has  disposed  of  it.  Plowever,  a 
letter  so  direct  and  honest  as  yours  would  find 
no  place  in  it.  Yes,  I  share  your  admiration  of 
Richard  Dix.  You  say  he  looks  every  inch  the 
man.  No  man  should  want  more  genuine 
compliment  from  a  sweet  unknown. 

Boots  R.,  Macon,  Ga. — I  shall  tell  Pauline 
Garon  of  your  characterization  of  her  as  "that 
angel."  No  doubt  her  vacation  will  be  pleas- 
anter  for  your  evidently  sincere  admiration. 

G.  IV.,  Indianapolis,  Ind. — George  Thirst- 
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the  true  name  of  your  idol  of  the  screen. 
She  was  born  in  Chadwick,  N.  Y.,  a  town 
named  in  memory  of  her  grandfather.  Her 
husband  is  William  Wellman,  director  of 
William  Fox's  staff.  Miss  Chadwick's  most 
popular  pictures  are  generally  conceded  to  be 
"The  Sin  Flood,"  "Gimme"  and  "Brothers 
Under  the  Skin." 

G.  K.,  New  York  City.— The  gifted  Tal- 
madge  sisters  have  been  pursuing  their  well- 
rewarded  vacations.  The  Norma  and  Con- 
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Studios,  Hollywood,  Calif. 

D.  A.,  Decatur,  III. — You  are  a  charming 
skeptic,  naughty  D.  A.  Worldly  Wise  Answer 
Man  (or  Woman)  you  address  me.  What  have 
I  done  to  lead  you  to  think  that  I  may  wear 
stays  or  dust  my  nose  with  powder,  or  that  I 
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WOODBURY'S       FACIAL      SOAP 


Copyright,  192 3,  by  The  Andrew  Jergens  Co. 


E. 


<Z5he  c/Cational  Guide  to Qy^Lotion  (Pictures 


Constance  Talmadfee 


VHATS  GOING  TO  HAPPEN  TO 

[ackie  Coogan? 


WHY  MEN  GO  CRAZY  ABOIT 

CORINNE  GRIFFITH 


he  Grand  Bal  Masque  held  each  year  at  the  Holiday  season  in  the  famous  Paris  Opera — Painted  expressly  for  Djer-Kiss  by  Albert  Hctuke,  N.  A. 


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198 

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If   it's    a    Paramount    Picture    it's   the    best    show  in    town/ 


(paramount  (pictures 


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The  World's  Leading  Motion  Picture  Publication 


PHOTOPLAY  MAGAZINE 


FRANK  T.  POPE 
MANAGING  EDITOR 


JAMES  R.  QUIRK,  Editor 


ADIlLA  ROGERS  ST.  JOHNS 
WESTERN   i  1'inn; 


Vol.  XXV 


No.  1 


Contents 


December,  1923 


Cover  Design 

From  a  Pastel  Portrait  by  J.  Knowles  Hare 

Brief  Reviews  of  Current  Pictures 
In  Tabloid  Form  for  Ready  Reference 

Brickbats  and  Bouquets 

Frank  Opinions  from  Readers 

Why  Do  They  Do  It? 

"Breaks"  Caught  by  Followers  of  the  Screen 


Constance  Talmadge 


Friendly  Advice 

The  Department  of  Personal  Service 


Speaking  of  Pictures  (Editorials) 


Film  Stars  Make  a  Forecast  of  His  Future 


(Contents  continued  on  next  page) 


16 


19 


Carolyn  Van  Wyck    22 


Rotogravure :  27 

New  Pictures:  Charles  Ray,  Dagmar  Godowsky, 
Barbara  La  Marr,  Tony  Moreno,  Carmel  Myers, 
Blanche  Sweet,  Zasu  Pitts 


James  "R.  Quirk    35 


Why  Men  Go  Crazy  About  Corinne  Griffith 

Adela  Rogers  St.  Johns    36 
Few,  if  Any,  Can  Resist  Her  Feminine  Appeal 

What's  Going  to  Happen  to  Jackie  Coogan? 


Herbert  Howe    38 


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This  Issue 


Save  this  magazine  —  refer  to 
the  criticisms  before  yon  pick  out 
your  evening's  entertainment. 
Make  this  your  reference  list. 

Page  J2 

Scaramouche Metro 

The  Spanish  Dancer Paramount 

Zaza Paramount 

A  Woman  of  Paris United  Artists 

The  Bad  Man First  National 

Cameo  Kirby Fox 

Page  74 

Going  Up Associated  Fxhibitors 

The  Fighting  Blade First  National 

Columbus Pathe 

Thundering  Dawn Universal 

The  Huntress First  National 

The  Marriage  Maker Paramount 

Page  75 

The  Eternal  Three Goldwyn 

Lights  Out F.  B.  O. 

The  Call  of  the  Wild Pathe 

The  Right  of  the  Strongest Zenith 

Monna  Vanna Fox 

The  Ramblin'  Kid Universal 

Page  102 

Is  Conan  Doyle  Right? Pathe 

Forgive  and  Forget Apollo 

Times  Have  Changed Fox 

The  Wild  Party Universal 

Shifting  Sands Hodkinson 

The  Tailor Fox 

The  Love  Trap Apollo 

Haldane  of  the  Secret  Service  .  . .  Apollo 

Polikuschka Russian  Art  Films 

Gold  Madness Renown 

The  Girl  from  the  West Ay  won 

Page  roj 

The  Dancer  of  the  Nile F.  B.  O. 

The  Devil's  Partner Independent 

A  Wife's  Romance Metro 

When  Law  Came  to  Hades.  .  .    Capital 
Tipped  Off Playgoers 


Copyright,  192.1,  by  the  PHOTOPLAY  Publishing  Company,  Chicago. 


Contents  —  Continued 

Myrtle  Stedman  and  Her  Son  (Photograph)  40 

And  the  Youngster's  Big  Enough  to  Play  Romeo  to  His  Mother's 
Juliet! 


'(5bJ- 


— U*g)' 


Barbara  La  Marr's  New  Wardrobe  (Photographs) 
Paris  Creations  That  Enhance  Her  Exquisite  Charms 


Close-Ups  and  Long  Shots 


Herbert  Howe 


Comment  on  the  Activities  of  Screen  Personalities 

Rotogravure : 

Baby  Peggy,  Dorothy  Gish,  Madge  Bellamy,  Conway 
Tearle 

The  Silver  Crazy-Quilt 

"Stills"  and  Titles  by  Ralph  Barton 

The  Shadow  Stage 

The  Department  of  Practical  Screen  Criticism 

Nervous  Prosperity  and  Klieg  Eyes       Dr.  William  Engel 
A  Physician's  Story  of  His  Movie  Folk  Patients 

Gossip — East  and  West  Cal  York 

Intimate  Glimpses  of  the  Film  People 

Napoleon,  Danton  and  Marie  Antoinette  (Photographs) 

They  Live  Again  in  Rex  Ingram's  Production  of  "Scaramoudu ■" 

Filming  the  History  of  America  at  Yale  (Photographs) 
A  Great  Patriotic  Series  of  Photoplays  That  Begins  with  the  Picture 
"Columbus" 


Questions  and  Answers 


41 


Beefsteak  and  Onions  (Fiction)  Frank  Condon    44 

The  Author  of  the  Famous  "Hollywood"  Is  Funnier  Than  Ever  in 
This  Story  of  a  Cross-eyed  Man  Who  Was  "Vamped" 

Illustrations  by  James  Montgomery  Flagg 

It  Can  Be  Done — Sometimes  John  Lynch     48 

Straightforward  Facts  on  Writing  for  the  Screen  by  a  Distinguished 
Scenarist 

Fads  and  Fancies  of  the  Film  Folks  (Photographs)  50 

Some  of  Them  Are  a  Bit  Startling,  Too 

How  He  Makes  Them  Act  Herbert  Howe     52 

Rex  Ingram's  Methods  of  Bringing  Out  a  Player's  Best 

Not  in  the  Scenario  (Fiction) 

Kathrene  and  Robert  Pinkerton     54 

The  Second  Installment  of  This  Enthralling  Mystery  Story  of 
Motion  Picture  Actors  on  Location 

Drawings  by  R.  Van  Buren 

Lois  Wilson  Shows  What  Can  Be  Done  with  Cretonne 

William  J.  Moll     58 
Dingy  Homes  Restored  to  Delightful  Freshness  at  Slight  Expense 

Medieval   Burgundv,    as   Designed    for   Marion   Davies' 

"Yolanda"  60 

Drawing  by  George  A.  Pic  ken 

"Robin  Hood"  Wins  Photoplay  Magazine  1922  Gold 

Medal  of  Honor  61 

The  Romantic  History  of  the  Motion  Picture 

Terry  Ramsaye     62 
Chapter  XXI :    Real  Tragedies  as  Great  as  Were  Ever  Filmed  in 
the  Make-believe  of  the  Screen  World 


66 

67 

71 
72 
76 
78 
86 
89 


The  Answer  Man     91 


Addresses  of  the  leading  motion  picture  studios 
will  be  found  on  page  23 


Who  are 
Mary  Pickford's 

favorite  stars? 

■She  has  made  her  decision, 
after  devoting  days  of  conscien- 
tious thought  to  the  subject,  and 
in  the  January  issue  of  Photo- 
play, Herbert  Howe  has  an 
interview  with  her  in  which 
she  tells.  She  also  makes  known 
her  favorite  pictures  and  tells 
her  reasons  for  her  selection  of 
both  stars  and  pictures.  But  the 
interview  tells  much  more  than 
this.  It  tells  of  the  great  con- 
scientiousness of  Mary,  of  her 
business  ability,  of  her  remark- 
able insight  and  intuition — in 
brief, of  all  the  marvelous  traits 
that  make  her  what  she  is — the 
Queen  of  the  Screen. 

Why  has 

Bebe  Daniels 

never  married  ? 

Man)'  people — including  a  lot 
of  young  men — have  wondered 
why,  but  not  one  has  ever  been 
able  to  learn.  She  is  young, 
beautiful,  charming,  a  talented 
actress,  but  she  is  still  Miss 
Daniels.  There  is  only  one- 
person  who  can  tell  why  she 
has  not  married  and  that  one  is 
Hebe  herself. 

Cut  puzzle  contest 
winners 

will  be  announced  in  the  Janu- 
ary issue.  More  than  30,000 
readers  of  Photoplay  sent  in 
solutions  and  the  task  of  ex- 
amining these  has  been  a  tedious 
and  laborious  one,  necessitat- 
ing the  engaging  of  extra  floor 
space    and    an    additional    staff. 

Sixty  portraits  of 
screen  beauties 

Portraits  of  sixty  of  the  most 
beautiful  women  of  the  screen 
will  appear  in  a  special  roto- 
gravure section  of  the  January 
issue  of  Photoplav.  The  editor 
wishes  to  know  who  the  readers 
of  this  magazine  consider  the 
most  beautiful  woman  on  the 
screen  and  he  wants  them  to 
write  to  him  anil  express  their 
opinions.  They  are  to  say  who 
is  entitled  to  this  honor  and  each 
reader  whose  vote  bears  file- 
name of  the  winner,  will  receive 
a  photograph  of  that  st;ir,  auto- 
graphed by  her. 

Don't  forget  in  the 
January  issue  of 

PHOTOPLAY 


Out  December  12 


Qjr»- 


--c<&: 


Photoplay  Magazine — Advertising  Section 


a 

c 


JL#J[i8© 


No  matter  how  nearly  bald  you  are — no  matter  how  many  kinds  of  treatment  you've  tried 
without  results — this  method  is  guaranteed  to  grow  hair  for  YOU— or  your 
money  will  be  instantly  refunded!  Simply  mail  the  coupon  below  for  free  proof. 

By  Alois  Merke,  Founder  of  Merke  Institute 


} 


ACTUAL  RESULTS 

Scores  of  Other   Letters 
Tell  the  Same  Story 

Can't  Praise  Too  Much 

"I  have  been  bothered  with  dan- 
druff for  twenty  years  and  had  lost 
nearly  all  of  ray  hair.  I  have  used 
your  treatment  30  days  now  and 
have  a  good  growth  of  hair  coming 
in.  I  cannot  say  too  much  in  praise 
of  the  Merfeb  Treatment." 

C.  H.  B. 
Parsons,  Kansas. 

Bald  for  Years 

"Kindly  allow  me  to  praise  and 
recommend  the  wonderful  Merke 
Treatment  to  any  one  who  may  be 
looking  for  a  hair  treatment  which 
positively  shows  quick  results.  After 
five  weeks'  treatment  a  new  growth 
of  hair  has  shown  on  each  side  of  the 
temple,  where  I  have  been  bald  for 
years."  C.  B. 

New  York  City. 

Does  Everything  Claimed 

"Am  glad  to  say  I  can  see  such 
great  change  in  my  hair.  It  is  grow- 
ing longer  and  my  head  is  full  of 
young  hair  that  has  made  its  way 
through  since  I  have  been  using 
Merke  Treatment.  I  can't  say 
enough  for  it.  It  will  do  everything 
you  claim  it  to  do."    Mrs.  G.  G. 

Houston,  Tex. 

Improvement  Daily 

"After  using  the  Merke  Treat- 
ment as  per  your  instructions,  my 
scalp  is  now  showing  improvement 
daily,  and  I  think  in  time  I  will  have 
more  hair  than  I  had  two  years  ago, 
I  was  practically  bare  on  the  top, 
but  now  it,  is  gradually  filling  in  from 
the  back."  J.  S.  W. 

Allleboro,  Mass. 

Was  Skeptical  Once 

"I  must  frankly  state  I  was  de- 
cidedly skeptical  as  to  your  claims 
for  the  Merke  Treatment,  but  a 
faithful  use  of  it  for  a  month  has  re- 
moved all  doubt,  and  three  of  us  are 
obtaining  unbelievable  results  both 
in  looks  and  steady  growth.  It  has 
also  worked  wonders  with  the  scalp, 
stopping  all  dandruff  and  railing 
hair.^'  L.  W.  F. 

Chelsea,  Mass. 

Head  Covered  With  Hair 

"I  am  dropping  you  a  few  lines 
to  let  you  know  about  your  wonder- 
ful Merke  Treatment.  The  top  of 
my  head  Is  almost  covered  with  new 
hair.  I  have  been  trying  for  the  last 
five  years  but  never  could  find  any- 
thing that  could  make  hair  grow  un- 
til I  used  your  treatment."  T.  C. 

Cleveland,  Ohio 


FOLKS  wonder  how  I  can  make  such  an 
amazing  offer.  No  one  ever  dared  to 
do  it  before — to  guarantee  absolutely  to 
grow  hair  or  the  treatment  costs  nothing  at 
all!  Here's  the  answer.  Read  the  letters 
printed  on  this  page — letters  from  those  who 
have  tried  this  startling  new  method.  These 
are  just  a  few  of  the  many  that  pour  into  my 
office  every  day — letters  which  show  with- 
out a  shadow  of  doubt  that  my  home  treat- 
ment— in  the  great  majority  of  cases — 
positively  does  grow  hair! 

I  don't  say  my  treatment  will  grow  hair  in  every 
case.  There  are  some  cases  of  baldness  that  nothing 
in  the  world  can  help.  But  I've  secured  such  amazing  results  in  so  many  other 
cases  that  I  am  perfectly  willing  to  have  you  try  my  treatment  at  my  risk!  And 
if  after  30  days  you  are  not  more  than  delighted  with  the  results — if  you  cannot 
actually  see  a  new  growth  of  hair — then  all  you  need  to  do  is  tell  me — and  without 
the  slightest  question  I'll  mail  you  a  check  refunding  every  bit  of  your  money! 
I  don't  want  a  cent  of  your  money  unless  I  can  actually  grow  hair  on 
your  head — and  you  are  the  sole  judge  of  whether  or  not  it  grows! 

Entirely  New  Method 

My  treatment  is  the  result  of  17  years  of  experience  gained  in  treating 
thousands  of  cases  of  baldness.  This  included  many  long  years  which  I  spent 
in  such  famous  scientific  research  centers  as  Heidelberg,  Berlin,  Paris,  Cairo  and 
Geneva.  At  the  Merke  Institute,  Fifth  Avenue,  New  York,  many  have  paid  as 
high  as  $500  for  the  results  brought.  Yet  now — through  the  Merke  Home  Treat- 
ment— these  same  results  may  be  secured  at  home — for  just  a  few  cents  a  day! 

My  method  is  entirely  different  from  anything  known  or  used  before.  There 
is  no  massaging — no  singeing — no  "mange  cures" — no  unnecessary  fuss  nor 
bother  of  any  kind.  Yet  results  are  usually  noticeable  after  the  very  first  few 
treatments. 

My  treatment  proves  that  a  big  percentage  of  baldness,  even  of  years'  standing, 
is  caused — not  by  dead  hair  roots — but  by  dormant  hair  roots  which  now  can  be 
awakened  and  made  to  grow  again.  Already  scores  of  men  and  women  who 
suffered  for  years  from  falling  hair  and  partial  baldness,  have  acquired  a  thick, 
healthy  growth  of  hair  through  this  amazing  method,  which  for  the  first  time 
provides  a  way  of  penetrating  to  the  hair  roots  and  furnishing  nourishment 
direct  to  them.  This  treatment  can  be  taken  in  any  home  in  which  there  is 
electricity. 

Free  Booklet  Explains  Treatment 

If  you  will  merely  fill  in  and  mail  the  coupon  below  I  will  gladly  send  you — 
without  cost  or  obligation — an  interesting  32-page  booklet  describing  my  treat- 
ment in  detail. 

This  booklet  contains  much  helpful  information 
on  the  care  of  the  hair — and  in  addition  shows  by 
actual  photographs  what  my  treatment  is  doing  for 
thousands  of  others. 

If  you  are  bald — or  if  right  now  you  are  merely 
troubled  with  falling  hair  and  dandruff — this  free 
book  will  prove  to  be  of  the  greatest  value  to  you. 
Ho  mail  the  coupon  now — and  it  will  be  sent  you  by 
return  mail  without  cost  or  obligation. 


MORE  RESULTS 

Bald  Spot  Growing  Smaller 

"Concerning  the  Merke  Treat- 
ment will  advise  that  it  has 
undoubtedly  benefited  my  hair 
and  scalp.  The  '  bald  spot '  seems 
slowly  but  surely  growing  small- 
er, and  Merke  Treatment  seems 
to  be  doing  the  work." 

H.  C.  G. 
Baltimore,  Md. 

Hair  Growing  Again 

"I  wouldn't  take  $50  for  your 
treatment.  It  was  far  beyond 
my  expectations.  My  hair  was 
dead  and  had  no  lustre.  Now  it 
is  restored  to  its  brilliancy  and 
has  begun  to  grow  again. 
Thanks."  J.  B.  C. 

HiUsboro,  Tex. 

New  Hair  in  20  Days 

"Have  been  using  Merke 
Treatment  20  days  and  have 
received  great  results.  My  hair 
has  been  falling  out  for  four 
years  and  your  Treatment  has 
checked  it.  I  had  two  bald 
spots  on  my  head  where  there 
was  not  even  any  fuzz,  and  there 
is  new  hair  growing  on  them 
now.  I  wouldn't  take  $50  for 
the  Merke  Treatment.  I  think 
it's  the  best  in  the  world." 

J.  M. 
Smackouer,  Ark. 

Satisfied  With  Results 

"  I  am  satisfied  with  results. 
Lots  of  hair  is  growing  where  I 
was  bald.  I  mean  in  front  where 
one  mostly  loses  hair  first.  It 
was  just  as  bare  as  the  palms  of 
my  hands.  Now  hair  is  coming 
again."  C.  F. 

Brooklyn,  N.  Y. 


I  Allied  Merke  Institutes,  Inc., 

.    Dept.  3912,  512  Fifth  Ave.,  New  York  City 

Please  send  me,  without  cost  or  obligation  on  my  part,  a  copy  of  the 
new  booklet  describing  in  detail  the  Merke  Institute  Home  Treatment. 


Name. 


ALLIED  MERKE  INSTITUTES,  INC., 

Dept.  3912     512  Fifth  Avenue     New  York  City 


Address. 


City. 


. State . 


When  you  write  (o  advertisers  please  mention  PHOTOPLAY  MAGAZIXE. 


Brief  Reviews  of  Current  Pictures 


ABYSMAL     BRUTE,    THE  —  Universal.  —  A 

woman-shy  young  man  with  a  wallop  in  his  right  fist 
and  a  come-hither  in  his  eye,  played  by  Reginald 
Denny  in  a  way  both  manly  and  appealing.  Jack 
London  characters  faithfully  reproduced.  This  is  a 
picture  for  everybody.     {July.) 

AFFAIRS  OF  LADY  HAMILTON,  THE— Hod- 
kinson. — Lady  Hamilton  comes  to  a  bad  finish,  but 
her  road  of  life  is  not  tedious  by  any  moans.  Rather 
heavy  German  production.     Not  for  children.   (July.) 

ALIAS  THE  NIGHT  WIND— Fox.— -A  man  un- 
justly accused,  vanishes.  Pursued  by  detectives,  he 
lias  many  hairbreadth  escapes,  and  is  finally  cap- 
tured by  the  blonde  girl  detective.  That's  all.  (Octo- 
ber.) 

APRIL  SHOWERS— Preferred.— Colleen  Moore 
and  Kenneth  Harlan  in  a  picture  filled  with  old 
material.     Not  highly  recommended.     (.November.) 

ASHES  OF  VENGEANCE— First  National.— One 
of  the  first — and  best — of  the  costume  pictures. 
Norma  Talmadge  and  Conway  Tearle  excellent. 
Should  not  be  missed.     (October.) 

BAVU — Universal. — A  gory  tale  of  Bolshevic 
Russia,  decidedly  artificial.  This  doesn't  apply  to 
Wallace  Beery,  however,  the  double-dyed  villain. 
Flappers  mav  like  the  ultra-heroic  Forrest  Stanley. 
(July.) 

BELLA  DONNA— Paramount.— Pola  Negri's  first 
American-made  picture  does  not  fit  her  as  well  as 
those  tailored  in  Berlin.  Pola  is  more  beautiful  but 
less  moving;  a  passion  flower  fashioned  into  a  poin- 
settia.     The  picture  is  thoroughly  artificial.     (June.) 

BILL— Paramount. — Not  a  story,  but  a  wonderful 
study  of  a  Paris  pushcart  peddler,  done  by  Maurice 
Feraudy.    Very  much  worth  while.     (November.) 

BLACK  SHADOWS— Pathe.— A  clever  mixture 
of  entertainment  and  instruction.  Views  of  the 
strange  people  of  the  South  Seas  as  they  dance,  swim 
and  play.     Colorful  and  interesting.     (October.) 

BLINKY — Universal. — The  best  picture  Hoot 
Gibson  has  had.  The  meek  son  of  an  army  colonel 
enters  the  army  and  finds  trouble.  Lots  of  fun. 
(November.) 

BLUEBEARD'S  EIGHTH  WIFE— Paramount  — 
Highly  sophisticated  and  good  entertainment  with 
Gloria  Swanson  wearing  gorgeous  clothes  as  only  she 
can.     Put  it  on  the  preferred  list.      (October.) 

BOSTON  BLAGKIE— Fox.— The  inside  of  the 
world's  most  disagreeable  prison,  with  a  happy  end- 
ing that  arrives  just  in  time.     (August.) 

BRASS— Warner  Brothers. — Not  for  those  who 
read  the  novel  by  Norris.  A  story  which  doesn't 
dare  anything.  Harry  Myers  excellent  in  small  role. 
(June.) 

BRASS  BOTTLE,  THE— First  National.— A 
fantastic  picture,  amusing  and  well  done.  Sort  of 
Arabian  Nights  entertainment.  The  Oriental  pro- 
logue is  especially  fine.  Barbara  La  Marr  and  Ernest 
Torrence  in  cast.     (October.) 

BRIGHT  SHAWL,  THE— First  National.— A 
pretty  play  of  distinct  atmospheric  charm,  a  tale  of 
Havana  intrigue  with  Cuban  strugglers  for  liberty  on 
one  side  and  soldiers  of  Spanish  oppression  on  the 
other.  Well  acted  by  Richard  Barthelmess,  Dorothy 
Gish,  Jetta  Goudal  and  William  Powell.      (July.) 

BROADWAY  GOLD— Truart— A  formula  pic- 
ture of  the  good  little  chorus  girl,  forced  into  marriage 
with  a  dying  rich  man.  He  gets  well,  of  course,  caus- 
ing complications.  A  jazz  party  is  well  done.  Just 
fair.     (October.) 

BROKEN  WING,  THE— Preferred.— A  story  of 
Mexico  and  an  American  aviator  who  crashes  through 
a  roof  into  the  arms  of  a  pretty  girl.  Moves  rapidly 
and  is  interesting  throughout.      (September.) 

BUCKING  THE  BARRIER— Fox.— Dustin  Far- 
num  beating  up  thugs  who  wouldst  thwart  him  from 
claiming  his  rightful  estates.     (June.) 

8 


BURNING  WORDS— Universal.— The  Canadian 
Mounted,  and  a  trooper  who  gets  his  man.  This  time 
the  man  is  a  brother.     (August.) 

GHAPTER    IN    HER    LIFE,    A— Universal.— A 

child  heroine  is  always  abused  and  misunderstood, 
but  sweetly  forgiving.  Rather  saccharine,  although 
well  acted.     (November.) 

CHEAT,  THE— Paramount.— Pola  Negri  in  a 
tragic  story  that  starts  slowly,  but  gains  in  interest. 
Miss  Negri's  acting  better  than  the  direction.  Good 
entertainment  and  just  misses  being  a  big  picture. 
(November.) 

CHILDREN  OF  DUST— First  National.— A 
pleasant  little  story  of  old  Gramercy  Square,  but 
with  too  much  childish  love-making.  And  then,  at 
the  end,  the  war  is  dragged  in.    (August.) 

CHILDREN  OF  JAZZ  —  Paramount.  —  A  fast 
story,  unique  plot,  quaint  costumes  and  delightful 
photography.  Altogether,  good  entertainment. 
(September.) 


AS  a  special  service  to  its  readers, 
Photoplay  Magazine  inaug- 
urated this  department  of  tab- 
loid reviews,  presenting  in  brief  form 
critical  comments  upon  all  photoplays 
of  the  preceding  six  months. 

Photoplay  readers  find  this  depart- 
ment of  tremendous  help — for  it  is  an 
authoritative  and  accurate  summary, 
told  in  a  few  words,  of  all  current  film 
dramas. 

Photoplay  has  always  been  first 
and  foremost  in  its  film  reviews. 
However,  the  fact  that  most  photo- 
plays do  not  reach  the  great  majority 
of  the  country's  screen  theaters  until 
months  later,  has  been  a  manifest 
drawback.  This  department  over- 
comes this — and  shows  you  accurately 
and  concisely  how  to  save  your  mo- 
tion picture  time  and  money. 

You  can  determine  at  a  glance 
whether  or  not  your  promised  eve- 
ning's entertainment  is  worth  while. 
The  month  at  the  end  of  each  tabloid 
indicates  the  issue  of  Photoplay  in 
which  the  original  review  appeared. 


CIRCUS    DAYS— First    National. — Jackie    Coo- 

gan's  new  one.  This  shows  the  lovable  boy  star  at  his 
best  and  funniest.  It  is  all  Jackie,  of  course,  but  none 
the  worse  for  that.     (September.) 

CLEAN-UP,  THE  —  Universal.—  What  Acton 
Da  vies,  once  a  famous  dramatic  reviewer,  used  to  call 
"another  one  of  those  things."  That  describes  it. 
(November.) 

CORDELIA    THE    MAGNIFICENT— Metro.— 

High  society  with  everybody  blackmailing  everybody, 
even  the  heroine,  who  does  it  unconsciously,  of 
course.     Badly  adapted  story.     (July.) 

CRASHING    THROUGH— F.    B.    O— Not    so 

bad — not  so  good.  A  Harry  Carey  jumble  of  heroics. 
(June.) 

CRITICAL  AGE,  THE— Hodkinson—  Another 
Ralph  Connor  Glengarry  story,  well  told.  Lacking 
in  the  original  force  and  spiritual  element.    (July.) 

CROSSED  WIRES— Universal.— And  yet  another 
little  Cinderella.  She  prefers  sassity  to  the  switch- 
board, and  she  achieves  her  heart's  desire,  not  with- 
out some  heart-throbs  and  much  laughter.      (July.) 


GUCKOO'S  SECRET,  THE— Bray.— They  say  it 
took  ten  years  to  get  this  picture  of  the  world's  laziest 
bird.  It  is  remarkably  interesting  and  instructive. 
(September.) 

DAUGHTERS  OF  THE  RICH  —  Preferred.  — 
High  society,  American  heiress,  decadent  Russian 
duke  and  so  on.  Some  novelty,  but  not  much  punch. 
Some  of  the  settings  are  beautiful.      (September.) 

DAYTIME  WIVES— F.  B.  O  —  An  amusing  pic- 
ture that  glorifies  the  good  little  stenographer.  Some- 
what preachy,  but  you  can  stand  that.     (November.) 

DAYS  OF  DANIEL  BOONE,  THE— Universal.— 
A  serial  with  much  interesting  and  historical  value. 
Plenty  of  adventure  and  with  many  surprisingly  real 
characters.     (September.) 

DEAD  GAME— Universal.— Hoot  Gibson  does 
some  hard  riding  and  fast  thinking.    (July.) 

DESERT  DRIVEN— V.  B.  O.— The  best  picture 
Harry  Carey  has  made  for  a  long  time.  It  starts  in 
prison  and  ends  in  the  desert  after  many  adventures 
and  a  good  love  story.     (September.) 

DESIRE — Metro. — Emotional  drama,  stating  that 
in  love  extremes  may  meet.  Good  cast  quite  thrown 
away.     (November.) 

DESTROYING  ANGEL,  THE— Asso.  Exhibitors. 
— Leah  Baird  in  a  picture  that  is  frankly  "movie 
stuff."  She  plays  a  dancer  whose  suitors  meet  evil 
fates.  Good  if  you've  nothing  better  to  see.  (No- 
vember.) 

DIVORCE— F.  B.  O.— Jane  Novak  is  so  beautiful, 
in  this,  that  nothing  else  matters.  Not  even  the  plot. 
(August.) 

DOES  IT  PAY?— Fox.— Hope  Hampton  as  a 
vampire  who  grabs  all  the  valuables  in  sight.  It  isn't 
very  good  and  it  won't  do  for  children.   (November,  i 

DON  OUICKSHOT  OF  THE  RIO  GRANDE— 

Universal. — A  western  that  should  have  been  a  com- 
edy.   The  small  boy's  delight.     (August.) 

DON'T  MARRY  FOR  MONEY— Apollo.— Still 
the  formula — and  this  time  an  old  one.  This  one 
used  to  work  out,  but  picture  patrons  are  wiser  now- 
adays.   Just  a  programme  film,  that's  all.     (October.) 

DOUBLE  -  DEALING  —  Universal.  —  A  stupid 
young  man  buys  property  of  a  confidence  man,  and 
of  course  the  property  assumes  a  great  value.  Other- 
wise how  could  it  all  end  so  happily?     (July.) 

DRIFTING— Universal. — Lots  of  excitement  in 
this  thriller,  with  Priscilla  Dean  playing  a  vivid  demi- 
mondaine.     Fine  entertainment.     (November.) 

DULGY — First  National. — A  stupid  picture  from  a 
most  amusing  play.  Showing  the  futility  of  trying  to 
make  a  picture  from  conversation      (November.) 

EAGLE'S  FEATHER,  THE— Metro.— An  inter- 
esting Western,  somewhat  marred  by  a  straining  for 
the  "Happy  ending."  Mary  Alden  does  beautifully. 
Worth  seeing.     (November.) 

ELEVENTH  HOUR,  THE— Fox.— Roaring  melo- 
drama for  the  youngsters,  Shirley  Mason  sharing 
starring  honors  with  Charles  Jones.  Everyone  who 
likes  adventure  will  enjoy  it.    (October.) 

ENEMIES  OF  WOMEN— Paramount-Cosmo- 
politan.— An  Ibanez  romance  filmed  in  Paris  and 
Monte  Carlo,  decorated  by  Urban,  dressed  by  Poiret 
and  girled  by  Ziegfeld.  A  million  dollars'  worth  of 
beauty,  including  Alma  Rubens,  and  superb  acting 
by  Lionel  Barrymore.     (June.) 

ETERNAL  STRUGGLE,  THE  —  Metro.  —  A 
Northwest  picture  with  Renee  Adoree  featured  and 
justly  so.  Excellent  story,  cast  an  direction. d 
(November.) 

EXCITERS,  THE— Paramount.— A  jazzy  little 
comedv-melodrama  with  plenty  of  action  and  speed. 
Tony  Moreno  and  Bebe  Daniels  at  their  best.  Good 
entertainment.     (August.) 

[  CONTINUED  ON  PAGE  IO  ] 


Photoplay  Magazine — Advertising  Section 


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Brief  Reviews   of  Current  Pictures 


[  CONTINUED  FROM  PAGE  8  ] 


FAIR  CHEAT,  THE— F.  B.  O.— Rather  hack- 
neyed story,  with  chorus  girl  as  heroine.  Stern 
father  who  relents  and  allows  happy  ending.  Just 
so-so.     (November.) 

FIGHTING  BLOOD— (Second  Series)— F.  B.  O. 
— Prize  fight  stuff,  of  course,  with  a  new  and  blonde 
hiding  woman  for  the  O'Hara  boy.  About  the  usual 
prize  ring  serial.     (October.) 

FIGHTING  STRAIN,  THE— Steiner.— Badly 
written,  acted  and  produced.     (November.) 

FLYING  DUTCHMAN,  THE— F.  B.  O— An  un- 
usual picture  which  follows  very  closely  the  Wag- 
nerian opera  of  that  name.  The  tragic  legend  is  well 
told  and  photographed,  with  Ella  Hall  doing  good 
work.      (October.) 

FOG,  THE— Metro. — A  story  of  small-town  ethics 
with  the  "how  his  soul  was  saved"  angle  played  up. 
The  cast  is  good,  but  the  direction  poor.    (September.) 

FOG  BOUND— Paramount.— One  of  the  formulas. 
Innocent  man  accused — lovely  lady  saves  him.  Good 
cast,  fine  photography.  Palm  Beach  settings,  and 
conventional  ending.     (August.) 

FOOLS  AND  RICHES— Universal.— The  hand- 
some hero  and  his  money  are  soon  parted,  but  being 
a  hero  he  wins  another  fortune,  and  being  handsome 
wins  the  girl.     (July.) 

FOURTH    MUSKETEER,    THE— F.    B.    O  — 

.lohnnie  Walker  at  his  best  as  a  young  prize-fighter 
who  gives  up  certain  championship  for  the  little  wife. 
(June.) 

FRENCH  DOLL,  THE— Metro.— Mae  Murray  in 
a  typical  Mae  Murray  picture — legs,  lingerie  and 
lure.    Also  she's  very  Parisienne.     (November.) 

GARRISON'S  FINISH— United  Artists.— The 
old,  hackneyed  race  track  story,  with  the  Southern 
colonel,  the  doped  horse  'n'  everything.  Jack  Pick- 
ford  has  the  lead.     Race  scenes  the  best.     (August.) 

GENTLEMAN  OF  LEISURE,  A— Paramount  — 
The  story  drags  at  the  start,  but  picks  up  speed  and 
becomes  rapid  and  interesting.  Jack  Holt  is  fea- 
tured, but  the  best  acting  is  by  Frank  Nelson  as  a 
burglar.     Above  the  average.     (October.) 

GIRL  I  LOVED,  THE— United  Artists.— We 
recommend  this  without  a  single  qualification  to  the 
entire  family.  It  deserves  your  attention.  A 
fragile  wistful  little  lyric  inspired  by  J.  Whitcomb 
Riley's  poem  of  a  country  boy  who  loves  his  foster 
sister.  Ray  gives  one  of  the  best  performances  of 
the  screen  year,  superb  in  its  humanness  and  tender- 
ness.    We  cannot  recommend  it  too  highly.      (July.) 

GIRL  OF  THE  GOLDEN  WEST,  THE— First 

National. — Another  return  engagement,  but  the  fine 
old  story  marred  by  difficulties  of  casting.  Warren 
Kerrigan  and  Sylvia  Breamer  the  leads.     (August.) 

GIRL  WHO  CAME  BACK,  THE— Preferred.— 

The  dear  girl  doesn't«come  back,  really,  but  she  does 
get  diamonds  and  two  husbands.  So  everybody's 
happy,  unless  possibly  the  audience.     (July.) 

GLIMPSES  OF  THE  MOON,  THE— Paramount. 
— Beautiful  sets,  beautiful  gowns  and  oh,  such 
beautiful  ladies!  In  a  word,  an  eyeful.  But  nothing 
much  for  the  heart.     (June.) 

GO-GETTER,  THE— Paramount-Cosmopolitan. 
— The  Go-Getter  has  lost  much  of  his  pep  passing 
from  magazine  to  screen,  but  it  is  a  pleasant,  well- 
round  narrative  for  a'  that.     (July.) 

GOLD  DIGGERS,  THE— Warner  Brothers- 
Sophisticated  photodrama  of  New  York.  Chorus 
girls  and  their  admirers  not .  so  black  as  usually 
painted.     Good  entertainment.     (November.) 

GRAIL,    THE — Fox.— A    well    made    and  well 

played  picture,  but  somewhat  lacking  in  plot.  It's 

more  or  less  of  a  Western  and  is  entertaining.  (No- 
vember.) 

GREEN  GODDESS,  THE— Distinctive.— George 

Arliss  in  a  screen  version  of  his  famous  play,  which  is 
as  good  as  the  stage  version.  One  of  the  best  of  the 
season.     (October.) 

GRUB  STAKE,  THE— American  Releasing  Cor- 
poration.— Fifty-seven  varieties  of  woodland  crea- 
tures, ranging  in  styles  from  bears  to  porcupines. 
Also  Nell  Shipman.    A  unique  forest  picture.   (June.) 

GRUMPY — Paramount. — A  superb  character- 
ization by  Theodore  Roberts.     (June.) 

GUN   FIGHTER,   THE— Fox.— A  feud   picture 

with  William  Farnum  in  the  midst  of  it,  enjoying  him- 
self thoroughly.     The  title  describes  it.     (November.) 

HEART  RAIDER,  THE— Paramount.— Jazzy 
and  often  amusing,  with  Agnes  Ayres  setting  the 
pace.  An  unbelievable  story,  but  set  in  beautiful 
surroundings.     (August.) 

HELL'S    HOLrJ — Fox.— Straight   Western    melo- 
drama with  Lefty  Flynn  and  Charles  Jones  as  cow- 
puncher  buddies.      Excitement   is  fast   and   furious. 
i  Good  entertainment  and  a  trick  ending.     (October.) 


HER  FATAL  MILLIONS— Metro.— A  swiftly 
moving  comedy  of  a  girl's  fibs — Viola  Dana's— to  a 
suitor  whom  she  believes   faithless.     (July.) 

HIGH  LIFE — Educational. — A  Mermaid  comedy 
with  Lige  Conley  starred.  A  lot  of  old  tricks,  but 
rather  well  done.      (November.) 

HIS  LAST  RACE— Phil  Goldstone—  Robert 
McKira  as  a  most  villainous  villain  in  a  Bertha  M. 
Clay  story.  Full  of  "movie  stuff,"  but  most  excit- 
ing.    (November.) 

HOMEWARD  BOUND— Paramount.— Thomas 
Meighan  as  a  salty  hero  in  a  lot  of  storms.  Story  is 
unconvincing  and  commonplace,  and  there  is  never 
any  doubt  that  Thomas  will  embrace  Lila  Lee  at  the 
close.     (October.) 

HOLLYWOOD— Paramount.— Dozens  of  the  pic- 
ture stars  shown  unconventionally  to  prove  they  arc- 
just  humans  after  all.  A  rattling  good  picture,  with 
lots  of  laughs  and  interest.    (October) 

HUMAN  WRECKAGE— F.  B.  O— Mrs.  Wallace 
Reid's  film  protest  against  the  drug  evil.  Not  a 
cheery  story,  but  one  that  will  touch  the  heart  and 
may  do  an  immense  amount  of  good.     (September.) 

HUNCHBACK  OF  NOTRE  DAME,  THE— Uni- 
versal.— A  magnificent  screen  spectacle,  with  Lon 
Chancy,  in  the  title  role,  contributing  another  of  those 
diabolically  fascinating  portrayals  for  which  he  is 
famous.  The  sets  are  marvelous.  A  picture  of  a 
class  seldom  equalled.     (November,) 

IF  WINTER  COMES— Fox.— A  remarkably  fine 
piece  of  work,  but  brimming  with  tears.  It  follows 
the  Hutchinson  novel  closely,  and  Percy  Marmont  as 
Mark  Sabre  does  the  best  acting  of  his  notable  career. 
(November.) 

ISLE  OF  LOST  SHIPS,  THE— First  National.— 
A  fantastic  romance  of  derelicts  in  the  Sargasso  Sea, 
screened  with  imagination  by  Tourneur.     (June.) 

ITCHING  PALMS— F.  B.  O.— Melodrama,  stupid 
and  badly  told.     (September.) 

KNOCK  AT  THE  DOOR,  A— Johnnie  Walker.— 
The  film  lasts  one  hour  and  ends  just  where  it  began. 
Much  ado  about  nothing.     (November.) 

LAWFUL  LARCENY— Paramount.— Most  of  the 
interest  is  in  the  production  which  is  extremely  lavish. 
Story  is  weak,  but  most  of  the  acting  is  competent. 
Fairly  good  entertainment.     (October .) 

LAW  OF  THE  LAWLESS,  THE— Paramount  — 
A  colorful  drama  of  the  gypsy  borderland  between 
Asia  and  Europe,  with  Dorothy  Dalton  and  Charles 
De  Roche  in  suitable  roles.     (September.) 

LEGALLY  DEAD— Universal. — Theatrically  un- 
leavened, with  adrenalin  used  to  bring  a  dead  man  back 
to  life.  Not  "ii  much,  except  for  the  acting  of  Milton 
Sills.     (October.) 

LEOPARDESS,  THE— Paramount.— Montague 
Love  tries  taming  Alice  Brady,  a  wild  gal  of  the  South 
Seas.  He  also  tries  to  tame  a  leopardess — and  gets 
tamed  most  effectively.  The  leopardess  should  have 
ended  matters  in  the  first  reel.     (June.) 

LION'S  MOUSE,  THE— Hodkinson.— Blackmail, 
robbery,  hairbreadth  escapes,  the  papers  and  the 
poils!    But  entertaining  for  a'  that.     (June.) 

LITTLE  CHURCH  AROUND  THE  CORNER. 

THE — Warner  Brothers. — A  situation  after  the 
manner  of  "The  Miracle  Man,"  with  a  wealthy  mine 
owner,  a  mine  disaster  and  a  minister.     (June.) 

LITTLE  JOHNNY  JONES— Warner  Brothers  — 
Johnny  Hines  is  very  good  in  this  George  M.  Cohan 
success.  Realistic  sets  and  a  good  horse  race  help  a 
lot.    Several  novelties.    Good  entertainment.     (Oct.) 

LITTLE  OLD  NEW  YORK— Cosmopolitan.— A 
charming  picture  with  Marion  Davies  doing  the  best 
acting  of  her  career.  Well  acted,  beautifully  staged 
and  competently  directed.     (October.) 

LONE  STAR  RANGER,  THE— Fox.— Tom  Mix 
and  Tony,  his  horse,  have  a  lot  more  adventures, 
defying  a  great  deal  of  death.  A  good  Mix  picture 
and  fine  for  the  boys.    (November.) 

LOST  AND  FOUND  —  Goldwyn.  —  Hollywood 
hokum  dropped  in  the  South  Seas.  A  beautiful  back- 
ground and  good  players  wasted.     (June.) 

LOST  IN  A  BIG  CITY— Arrow.— Action  all  the 
time.  The  story  doesn't  amount  to  much,  but  there 
is  so  much  going  on,  you  don't  mind  that.  A  formula 
picture,  but  a  good  formula.     (October.) 

LOVEBOUND— Fox. — A  well-knit,  consistent 
story,  with  strong  climaxes,  of  a  district  attorney  who 
falls  in  love  with  his  secretary.  The  girl's  father  is  a 
jewel  thief,  and  the  conflict  between  her  loyalty  to 
father  and  love  for  prosecutor  is  well-developed. 
Shirley  Mason  draws  sympathy.     (July.) 

LOVE  BRAND,  THE— Universal.— Spanish  ranch 
owner,  gang  of  crooked  capitalists,  beautiful  daughtei 
of  ricli  man  loves  rancher,  and  plot  fails.  All  right. 
if  you  like  that  kind.      (October.) 


];vciy  advertisement  in  PnOTOPLAY  MAGAZIXK  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


1 1 


LOVE  PIKER,  THE— Cosmopolitan-Goldwyn.— 
Anita  Stewart  in  the  old  talc  of  the  girl  who  loves  her 
father's  employee.  A  good  story,  with  Miss  Stewart 
doing  some  fine  acting.     (September.) 

LOYAL  LIVES — Vitagraph. — Propaganda  for  the 
letter  carrier.  A  simple  story,  filled  with  pleasant 
hokum  and  kindly  folk.  Mary  Carr  excellent.  Clean 
and  interesting.      (October.) 

MADNESS  OF  YOUTH— Fox.— An  engaging 
crook  enters  a  home  to  rob  a  safe,  meets  the  daughter 
of  his  victim,  etc.  Marriage  and  honor  in  the  end. 
John  Gilbert  is  sincere  and  with  Billie  Dove  makes 
the  affair  almost  plausible.     (July.) 

MAIN  STREET— Warner  Brothers.— A  difficult 
story  to  screen  and,  therefore,  not  an  entirely  satis- 
factory picture.  Starts  off  well,  but  slumps  at  the 
end.  Florence  Vidor  the  great  redeeming  feature. 
(August.) 

MAN  FROM  GLENGARRY,  THE— Hodkinson. 
— Ralph  Connor's  erstwhile  best-seller  has  suffered 
in  the  screening,  but  the  logging  scenes  are  fine  and 
the  Canadian  landscapes  impressive.    (June.) 

MAN  NEXT  DOOR,  THE— Vitagraph.— Not 
good.  Story  is  illogical,  and  acting  and  direction  both 
below  standard.     A  dog  wins  the  honors.     (August.) 

MAN  OF  ACTION,  A— First  National.— Likable 
Douglas  MacLean  as,  a  society  man  playing  a  crook. 
Interesting,  but  incongruous.  Perhaps,  some  day, 
MacLean  will  get  a  real  story.  Then,  look  out. 
(August.) 

MARK     OF     THE     BEAST,    THE— Dixon  — 

Thomas  Dixon  wrote,  cast  and  directed  this  as  a 
challenge  to  "machine-made  pictures."  The  ma- 
chine wins.      (August.) 

MARY  OF  THE  MOVIES— F.  B.  O.— Again  the 
Hollywood  stars  trailing  by  in  a  story  of  a  screen- 
struck  girl.  That  is  the  only  interest.  The  story  is 
weak.     (August.) 

MASTERS  OF  MEN— Vitagraph— Well-done 
story  of  the  Spanish-American  war.  Cullen  Landis 
fine.  Earle  Williams,  Alice  Calhoun  and  Wanda 
Hawley  in  the  cast.    (June.) 

McGUIRE  OF  THE  MOUNTED— Universal.— 

Another  Northwest  Mounted  Police  story,  with  the 
usual  dauntless  hero.  Plenty  of  action  and  interest- 
ing to  those  who  like  these  stories.     (September.) 

MERRY-GO-ROUND— Universal.— One   of   the 

best  pictures  in  months.  A  Viennese  story,  witli  the 
atmosphere  capitally  maintained,  and  exceptionally 
well  acted.      (September.) 

MICHAEL  O'HALLORAN  —  Hodkinson.  —  The 
too-sweet  story  of  a  Chesterfieldian  street  urchin, 
who  shows  a  lot  of  ricli  folk  how  to  behave.   (A  ugusl.) 

MIDNIGHT  ALARM,  THE— Vitagraph.— Plen- 
ty of  action  but  not  the  slightest  probability.  Every- 
thing happens,  virtue  is  rewarded  and  vice  punished. 
(November.) 

MIRACLE  BABY,  THE— F.  B.  O— Not  much 
miracle,  but  a  nice  baby.  Harry  Carey  up  in  the  gold 
mines,  a  murder,  a  false  accusation  and,  finally,  vin- 
dication.    Formula  again.     (October.) 

MODERN  MARRIAGE  — American  Releasing 
Corporation. — The  team  of  Beverly  Bayne  and 
Francis  X.  Bushman  return  in  a  commonplace  story 
smoothly  screened.     (June.) 

MOTHERS-IN-LAW— Gasnier  —  Many  dresses 
cut  short,  top  and  bottom,  jazz  parties,  lots  of  glitter 
— the  usual  thing.  Not  highly  recommended.  (Octo- 
ber ) 

MYSTERIOUS  WITNESS.THE— F.B.O.— More 

formula  stuff.  The  sweet  and  ailing  mother,  the  self- 
sacrificing  son  and  the  rest  of  it.  Sickeningly  sweet. 
(September.) 

NE'ER-DO-WELL,  THE— Paramount.  —  Not 
altogether  successful,  nor  altogether  uninteresting, 
for  Thomas  Meighan  is  in  it.    Old-fashioned.    (July.) 

NOBODY'S  BRIDE— Universal— A  runaway 
bride,  a  down-and-out  suitor  of  other  days,  a  bag 
of  jewels,  a  band  of  crooks,  etc.,  etc.     (June.) 

NOISE  IN  NEWBORO,  A— Metro.— Cinderella  of 
the  small  town  goes  to  the  city  and  comes  home  rich. 
Viola  Dana  gingers  up  this  weak  concoction.     (July.) 

NTH  COMMANDMENT,  THE  —  Paramount- 
Cosmopolitan.— The  brave  little  girl  struggles  to 
maintain  her  home  when  her  husband  falls  desperate- 
ly ill.     The  human  note  is  missing.     (July.) 

OLD  SWEETHEART  OF  MINE,  AN— Metro.— 
J.  Wbitoomb  Riley's  poem  screened  with  considerable 
charm  and  touches  of  melodrama.      (July.) 

ONLY  38— Paramount.— A  delightful  handling  by 
William  ilc  Mille  of  a  most  appealing  story.  Lois 
Wilson's  role  fits  her  admirably,  and  May  McAvoy  is 
a  great  help.     (August.) 

OUR  GANG  COMEDIES— Pathe.— One  hundred 
per  cent  kid  stuff — for  the  whole  family.  Don't  miss 
Little  Farina,  age  two,  colored.     (June.) 

OUT  OF  LUCK— Universal.— Hoot  Gibson  as  a 
young  cowpuncher  transferred  to  the  navy  creates  a 
lot  of  fun.  There  are  many  laughs  and  much  excite- 
ment     Good  entertainment.     (October.) 


^Warner 

Picture 

it's  a. 

Classic 


fulfill 


ling 


GREAT 
OBLIGATION 

cMotion 
JHciures 

WARNER  BROS.  18 

"Classics  of  the  Screen" 
SEASON  1923-1924 

Here  are  18  new  pictures  that 
are  making  screen  history. 
They  set  a  new  standard  of 
screen  achievement.  They  ap- 
peal to  every  human  being 
because  they  touch  the  ex- 
periences and  deep  emotions 
of  every  life. 

For  the  production  of  these 
greater  pictures,  Warner  Bros, 
have  engaged  additional  act- 
ors and  screen  directors  of 
national  and  international 
fame.  Watch  for  the  appear- 
ance of  these  new  screen  clas- 
sics. Every  one  offers  you  de- 
lightful entertainment.  Keep 
this  list  for  reference: 

"Little   Johnny   Jones" 
"The  Printer's  Devil" 
"The  Gold  Diggers" 
'The    Age    of    Innocence" 
"George  Washington,   Jr." 
"How  to  Educate  a  Wife" 

"Beau  Brummel" 
"Tiger  Rose" 
"Babbitt" 
"Daddies" 
"Lover's  Lane" 
"Cornered" 

Broadway  After  Dark" 
The  Tenth  Woman" 
Being  Respectable" 
The   Country  Kid" 
Lucretia  Lombard" 
Conductor    1492" 


Remember  that  the  name 
WARNER  is  always  the 
guarantee  of  a  picture 
worth  your  while  going 
to  sec.  "If  it's  a  War- 
ner picture  It's  a  clas- 
sic." 


/Johnnie 
Jones 


Classics  of  the  Screen 


vj/tc 
Goid  ^Diggers' 


mien   you   Wrltt   to  adveil is  please   mention    PHOTOPLAY   -MAGAZINE. 


12 


Photoplay  Magazine — Advertising  Section 


"Here's  Where  We 
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D Industrial  Management  □  Advertising 

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OTrafflc  Management  Q  Show  Card  Lettering 

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□  Banking  and  Banking  Law  □  Business  English 
D  AccountancydncludlngC.P.A.)  □  Civil  Service 
DCost  Accounting  □  Railway  Mail  Clerk 

D  Bookkeeping  D  Common  School  Subjects 

Dl'rlvate  Secretary  □  High  School  Subjects 

D6panish  D  French  □  Illustrating 

TECHNICAL    AND    INDUSTRIAL   COURSES 

OBIectricifl  Engineering  OArchltect 

OElectrlc  Lighting  D  Blue  Print  Reading 

O  Mechanical  Engineer  □  Contractor  and  Builder 

□  Mechanical  Draftsman  Q  Architectural  Draftsman 
D  Machine  Shop  Practice  Q  Concrete  Builder 
QRailroad  Positions  Q  Structural  Engineer 
QGas  Engine  Operating  QChemlstry    D  Pharmacy 
DClvll  Engineer  □Automobile  Work 

□  Surveying  and  Mapping  □Airplane  Engines 

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Street                                                                                  e-3-23 
Address 

City 8t»te 

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PENROD  AND  SAM— First  National.— One  of 
the  entertainment  gems  of  the  month.  Real  boys 
with  a  story  handled  by  William  Baudine,  who  re- 
members that  he  was  once  a  boy.  Don't  miss  it  if 
you  enjoy  kids.     (.4  ugust.) 

PETER  THE  GREAT  —  Paramount.—  Another 
foreign  film,  with  that  truly  great  actor,  Emil  Tan- 
nings, in  the  title  role.  This  is  a  real  picture  and  one 
that  should  not  be  missed.      (September.) 

POTASH  AND  PERLM UTTER— First  National. 

— As  funny  on  the  screen  as  on  the  stage,  with  Barney 
Bernard  and  Alex  Carr  in  their  original  roles.  Always 
interesting  and  filled  with  hearty  laughs.   (November.) 

POWER  DIVINE,  THE— Independent.— Another 
Kentucky  feud,  proving  that  where  there's  love  there's 
hope.     Nothing  to  get  excited  about.     (November.) 

PRODIGAL  DAUGHTERS  —  Paramount.  — 
Another  tirade  against  the  jazz  babies  of  1923.  This 
time  it  is  adapted  to  the  girl  who  leaves  the  old  home- 
stead only  to  return  in  the  snowstorm  of  Christmas- 
time.     (July.) 

PRODIGAL  SON,  THE  —  Stoll"  Film  Corp. — 
Steeped  in  the  gloom  of  church  yards  and  death- 
beds, lost  loves  and  debts.     (July.) 

PURITAN  PASSIONS— Hodkinson.— A  screen 
version  of  "The  Scarecrow,"  delicate  and  fanciful.  A 
charming  production,  but  perhaps  a  little  fanciful  to 
please  generally.     (November.) 

PURPLE  HIGHWAY,  THE  — Paramount.  — 
Rather  a  silly  plot  with  overdrawn  situations.  Madge 
Kennedy  is  sweet  as  a  little  housemaid  and  is  mostly 
wasted.    Tiresome  picture.     (October.) 

QUEEN  OF  SIN,  THE— Not  sinful  but  awful. 
The  queen's  sin  is  weight.     (June.) 

QUICKSANDS— American  Releasing  Corpora- 
tion.— Drug  smuggling  across  the  Mexican  border  is 
stopped  by  Lt.  Richard  Dix  and  Helene  Chadwick 
of  the  Secret  Service.      (June.) 

RAGGED  EDGE,  THE— Goldwyn.— A  Harold 
McGrath  romance,  with  a  lot  of  new  blood  in  the  cast. 
From  China  to  the  South  Seas.     (August.) 

RAILROADED— Universal.— A  lesson  in  how 
wayward  sons  should,  and  should  not,  be  disciplined. 
Love  finds  a  way.     (August.) 

RAPIDS,  THE  —  Hodkinson.  —  A  conventional 
story  of  the  building  of  a  town  by  a  man  with  brains 
and  foresight.  The  steel  plant  scenes  are  excellent. 
(September.) 

RED  LIGHTS — Goldwyn. — A  corking  good  mys- 
tery picture,  filled  with  excitement  and  thrills.  Ray- 
mond Griffith  scores  again.     (November.) 

RED  RUSSIA  REVEALED— Fox.— Half  scenic 
and  half  educational.  Shows  the  heads  of  Soviet 
Russia,  a  revolting  group,  but  worth  study. 
(September.) 

REMITTANCE  WOMAN,  THE— F.  B.  O.— Ethel 
Clayton's  loveliness  shines  out  from  the  dim  and 
mystic  East,  where  Ethel  gains  a  sacred  vase  and 
nearly  loses  her  life.     (July.) 

RICE  AND  OLD  SHOES— F.  B.  O.— A  comedy  of 
the  honeymoon,  with  all  the  old  situations  worked 
overtime.     (August.) 

ROSITA — United     Artists— The     picture    is    as 

dainty  and  charming  as  the  star — Mary  Pickford — 
herself.  Beautiful  sets  and  photography,  and  the 
direction  proving  why  Ernst  Lubitsch  has  such  a  high 
reputation.     One  of  the  best.     (November.) 

ROUGED  LIPS— Metro.— Charming  Viola  Dana 
as  a  good  little  chorus  girl  is  delightful.  The  picture 
starts  slowly,  but  gathers  speed.  Good  entertain- 
ment.    (November.) 

RUGGLES  OF  RED  GAP— Paramount.— A  high- 
ly amusing  comedy,  the  locales  being  a  Western  "cow 
town  "  and  a  Hollywood  Paris.  Ernest  Torrence  and 
Edward  Horton  provide  the  bulk  of  the  many  laughs. 
(November.) 

RUNNING  WILD— Educational.— A  comedy  film 
built  around  the  game  of  polo.  Hated  rivals  on 
opposing  teams.    That's  about  all.     (November.) 

RUPERT  OF  HENTZAU— Selznick  —  A  lively, 
romantic  tale,  with  lots  of  excitement  and  thrills,  but 
far  behind  its  Anthony  Hope  predecessor,  "The 
Prisoner  of  Zenda."     (September.) 

RUSTLE  OF  SILK,  THE— Paramount.— The 
triangle  of  a  British  statesman,  his  unfaithful  wife 
and  an  adoring  lady's  maid,  who  loves  the  statesman 
from  afar,  isn't  much  of  drama.  But  told  with  fine 
taste  and  discretion.  Betty  Compson,  Anna  Q. 
Nilsson  and  Conway  Tearle  excellent.     (July.) 

SAFETY  LAST— Pathe.— Harold  Lloyd's  best- 
seven  reels  that  speed  like  two.  Prepare  for  laughter, 
shrieks  and  general  hysteria.     (June.) 

SALOMY  JANE— Paramount.— Bret  Harte's 
famous  story  made  into  an  ordinary  Western. 
Jacqueline  Logan  makes  it  worth  while,  but  not  for 
children.     (November.) 

SAWDUST  —  Universal.  —  Unconfined  realism, 
starting  with  a  circus  and  ending  up  in  one  of  those 
palatial  homes  and  an  attempted  suicide.  (September.) 


SECRET  OF  LIFE,  THE— Principal  Pictures.— 
The  private  lives  of  bees,  ants  and  bugs  laid  bare  by  a 
new  photographic  process.  Extremely  interesting. 
(November,) 

SECOND-HAND  LOVE— Fox.— A  picture  of 
small  town  life  for  the  small  town.  Buck  Junes  in  a 
Charles  Ray  role.     (November.) 

SELF-MADE  WIFE,  THE— Universal.— Three 
fourths  of  this  picture  is  good.  The  end  falls  badly- 
Also  unnecessarily,  just  to  work  in  a  jazz  party- 
(September.) 

SHADOWS— Preferred  Pictures.— An  idea  of  deli- 
cacy and  charm  has  been  translated  with  great  care 
to  the  screen  and  the  result  is  a  good  picture.  Tom 
Forman's  direction  of  Wilbur  Daniel  Steele's  prize- 
story  "Clung,  Ching,  Chinaman"  is  as  inspired  as 
possible  in  view  of  the  fact  that  there  are  censors. 
The  central  figure,  the  Oriental  laundryman,  remark- 
ably acted  by  Lon  Chaney,  is  a  fine  and  true  con- 
ception.    (January.) 

SHADOWS  OF  THE  NORTH— Universal.— 
William  Desmond  as  a  miner  who  fights  off  claim 
jumpers.  Happy  ending,  after  a  good  fight  and  some 
great  shots  of  a  canoe  in  the  rapids.  Fast  melodrama. 
(October.) 

SHATTERED  REPUTATIONS— Lee   Bradford. 

— Mediocre     picture,     artificial     and     badly    acted. 
(November.) 

SHOCK,  THE — Universal. — Another  hideously 
clever  characterization  by  Lon  Chaney  as  a  cripple  of 
the  underworld.  The  miracle  idea  is  brought  in 
again.  Strong,  but  unpleasant — and,  of  course,  with 
a  happy  ending.      (August.) 

SHOOTIN'  FOR  LOVE— Universal.— Shell  shock 
is  the  underlying  theme  of  a  swift  Western.  The  hero, 
back  from  the  war,  walks  into  a  feud  which  is  fully  as 
exciting.      (September.) 

SHORT  SUBJECTS  —  Educational.  —  One  and 
two-reel  novelties,  grouped  together  in  interesting  bill. 
"Kinograms,"  a  Bruce  scenic,  "Speed  Demons," 
Gene  Sarazen  demonstrating  golf,  and  two  comedies. 
(September.) 

SINGLE  HANDED— Universal.— Hoot  Gibson  as 
an  eccentric  musician  who  discovers  a  buried  treasure. 
Hoot's  better  at  handling  hosses.      (June.) 

SILENT  COMMAND,  THE— Fox.— A  story  of 
the  navy.  Propaganda  type  of  picture.  A  good 
narrative  of  the  sea,  well  told.  For  the  family. 
(November.) 

SILENT  PARTNER,  THE— Paramount.— An  in- 
teresting  story,  well  done  except  that  the  suspense  is 
not  well  sustained.  Leatrice  Joy  excellent.  (No- 
vember.) 

SIX  DAYS— Goldwyn.— Lovely  Corinne  Griffith 
in  a  unique  and  absorbing  story.  Lots  of  excitement, 
a  remarkably  good  cast  and  direction.  Very  fine 
throughout.  ^(November.) 

SIX-FIFTY,  THE— Universal.— A  train  wreck 
near  the  old  homestead  sends  wife  to  the  city  to  see 
life.  But  she  comes  back.  Nothing  very  original, 
but  fair  entertainment.     (November.) 

SIXTY  CENTS  AN  HOUR— Paramount.— An 
ambitious  soda  clerk  plans  to  marry  the  daughter  of 
the  bank  president,  and  go  into  business — all  on 
seven-fifty  a  week.     A  riot  of  laughter.     (July.) 

SKID  PROOF— Fox.— A  racing  picture  after  the 
style  that  Wally  Reid  made  famous.  Crooked  driver, 
honest  boy  takes  his  place — you  know  the  rest. 
Action  is  fast  and  picture  runs  smoothly.      (October.) 

SLANDER  THE  WOMAN— First  National.— 
And  still  the  formula!  Beautiful  heroine,  wrongfully 
accused,  goes  to  the  Frozen  North.  There,  in  the 
great,  open  spaces,  things  happen.  Mostly,  good 
photography.     (August.) 

SNOW  BRIDE.  THE— Paramount.— A  forced  and 
artificial  story  of  life  in  a  Canadian  village.  Alice 
Brady,  even,  fails  to  register.     (August.) 

SNOWDRIFT— Fox.— A  cooling  Summer  picture, 
with  lots  of  ice  and  snow.  A  little  waif,  missionaries, 
Indians,  impossible  happenings.  Marries  a  reformed 
gambler  for  the  fade-out.     (August.) 

SOCIAL  CODE,  THE  — Metro.— A  "find  the 
woman"  melodrama  with  Viola  Dana  as  a  society 
butterfly  and  not  so  good  as  usual.  Could  have  been 
a  good  picture,  but  isn't.     (November.) 

SOFT  BOILED— Fox.— Tom  Mix  and  Tony  in  a 
new  type  of  comedy.  Slight  story,  but  plenty  of 
action.  One  fight,  in  a  shoe  store,  is  exceptionally 
funny.    Good,  if  you  like  Mix  pictures.     (October.) 

SOUL  OF  THE  BEAST— Metro.— Cinderella 
elopes  with  an  elephant.  Hard  time  has  Cinderella, 
but  all  ends  well,  even  for  friend  elephant.     (July.) 

SOULS  FOR  SALE— Goldwyn.— A  Cook's  tour 
of  the  Hollywood  studios.  A  false  and  trivial  story, 
but  it  takes  you  behind  the  camera  and  is  very  enter- 
taining.    (June.) 

SPOILERS,  THE— Goldwyn. — A  new  version  of 
the  Rex  Beach  Alaskan  romance,  with  a  capital  cast 
As  thrilling  as  ever.  Milton  Sills  and  Noah  Beery 
stage  a  realistic  fight,  and  Anna  Nilsson  is  excellent  as 
the  dance  hall  girl.     (August.) 

[  CONTINUED  ON  PAGE  14  ] 


Every  advertisement  in  PIIOTOPI.av  \t irjAZ'NE  is  guaranteed. 


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■3 


Sizes 
34  to  44 

Stouts 
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Fur  Trimmed 


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charge  for  this  credit.  One  price.  All  you  have  to  do  is  send  us 
$1  with  the  coupon,  and  we  will  send  you  the  dress.  Then  pay 
the  balance  of  the  bargain  price  in  six  monthly  payments  while 
wearing  the  dress  and  getting  the  full  benefit  while  we  trust 
you  for  the  money.  You  will  be  proud  to  wear  this  dress.  Re- 
member, this  is  a  special  offer  only  while  these  velveteen  dresses 
last.  Just  a  limited  number  at  this  price.  You  must  send  in  your 
order  now.  Thousands  buy  on  credit  the  Elmer  Richards  way 
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Belt Hip Length 

□  Regular  dress  No.  F-30.    Price  $24.95.    Pay  $4.00  monthly.    Sizes  34  to  44. 
Q  Stout  dress  No.  F-31.    Price  $29.95.    Pay  $4.85  monthly.    Sizes  45  to  51. 

If  I  am  not  delighted  with  the  dress,  I  can  return  it  and  get  my  $1  back.  Otherwise  I  will 
pay  these  easy  terms. 


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Brief  Reviews 
of  Current  Pictures 


[CONTINTTED  FROM  PACE   12  ] 

ST.  ELMO — Fox. — A  novel  of  the  time  of  our 
lathers  which  makes  a  picture  of  about  the  same  era. 
Attempting  to  modernize  the  story  lias  not  helped  it. 
{.October.) 

STEEL  TRAIL,  THE— Universal.— A  serial  about 
the  building  of  a  railroad,  interesting  and  full  of 
thrills.  The  building  of  the  road  is  very  real  and  the 
villains  very  wicked.     (October.) 

STEPPING  FAST— Fox.— Tom  Mix  mixes  with 
desperadoes.  He  saves  a  girl  from  tile  rascals  after 
a  trip  to  China.    The  girl  says  "yes."     (July.) 

STRANGERS  OF  THE  NIGHT— Metro.— A  fine 
picture  in  every  way.  Even  better  on  the  screen  than 
as  "Captain  Applejack"  on  the  stage.  Direction  of 
the  best.     (November.) 

SUCCESS — Metro. — Sentimental  melodrama.  A 
screen  version  of  a  stage  play  which  was  not  a  success. 
(September.) 

SUNSHINE  TRAIL,  THE— First  National.— The 

story  of  a  nice  soung  man  who  wants  to  spread  sun- 
shine overs  where  but  gets  under  a  cloud  in  his  own 
home  town.     (June.) 

SUZANNA — Allied  Producers. — Mack  Sennett 
tries  plot  instead  of  pies  without  so  much  success,  but 
Mabel  Normand  stirs  in  some  fine  humor.  Early 
California,  missions,  Spaniards — and  Mabel.    (June.) 

TEA  WITH   A   KICK— Asso.    Exhibitors.— The 

only  feature  is  Stuart  Holmes  as  a  comedian  and  he's 
pretty  awful.     (November  ) 

TEMPTATION— C.  B.  C.  Film  Sales  Corp.— 
Original  in  that  the  couple  who  are  struggling  un- 
happily under  the  weight  of  their  millions  do  not  lose 
the  bankroll  and  live  forever  in  a  cottage.     (July.) 

THREE  AGES— Metro.— Buster  Keaton  in  the 

stone  age,  the  Roman  era  and  the  present.  It  lias  its 
good  spots,  but  is  below  Buster's  standard.  (No- 
vember.) 

THREE  JUMPS  AHEAD— Fox.— Tom  Mix  and 
his  horse  Tony  leap  a  chasm  and  give  you  an  hour 
of  Western  thrill  with  love  interest.     (June.) 

THREE  WISE  FOOLS— Goldwyn.—  A  screen  ver- 
sion of  a  stage  success,  with  much  hokum  but  with 
plenty  of  entertainment  and  appeal.     (September.) 

TIGER'S  CLAW— Paramount.— Jack  Holt  goes 
to  India,  gi-ts  bit  by  a  tiger,  married  to  half-caste, 
and  mixed  up  in  poison  plots.     (June.) 

TO  THE  LAST  MAN— Paramount.— A  real,  red- 
blooded  Western,  filled  with  fights  and  other  exciting 
episodes.  Nearly  the  whole  cast  killed  off.  (November.) 

TOWN  SCANDAL,  THE— Universal.— Gladys 
Walton  is  a  chorus  girl  who  runs  out  of  a  job  and  goes 
home  to  write  her  memoirs  for  the  local  gazette.  Of 
course  the  poor  girl's  misunderstood.     (June.) 

TRAILING     AFRICAN     WILD     ANIMALS— 

Metro. — This  Martin  Johnson  picture  is  the  best  of 
its  kind.  The  best  animal  close-ups  ever  made,  and 
some  tremendous  thrills.     (July.) 

TRAIL   OF   THE   LONESOME    PINE,   THE— 

Paramount. — Mountaineers,  moonshiners,  Minter 
and  Moreno.  Also  Ernest  Torrence.  The  players 
are  the  thing.     (June.) 

TRIFLING     WITH     HONOR— Universal.— The 

story  of  a  home-run  king,  resembling  Babe  Ruth, 
who  is  the  idol  of  the  small  boys.  Intensely  dramatic 
and  worthy.     (July.) 

TRILBY — First  National. — A  careful  and  artistic 
production  of  the  Du  Maurier  romance  with  Andree 
Lafayette,  the  French  actress,  as  star.  Entertain- 
ment value  marred  a  little  by  the  direction.    (October.)  . 

TRIMMED  IN  SCARLET— Universal.— Char- 
acters displaying  their  lack  of  sense  in  a  way  that 
may  earn  your  pity  but  not  your  sympathy.    (June.) 

UNTAMABLE,  THE— Universal.— Gladys  Wal- 
ton as  a  victim  of  a  dual  personality.  Rather  inter- 
esting, but  inclined  to  be  morbid.     (November.) 

VANITY  FAIR— Goldwyn.— Hugo  Ballin's  work- 
manlike visualization  of  Thackeray's  novel.  Not 
brilliant,  but  adequate.     (June.) 

VENGEANCE  OF  THE  DEEP— American  Re- 
leasing Corp. — Sharks,  devil  crabs,  sea  weed  i.nd 
treasure  chests  make  the  under-sea  pictures  inter 
esting  and  thrilling.  But  the  actors  on  dry  land  are 
not  so  interesting.     (July.) 

VICTOR,  THE  —  Universal.  —  Rather  obvious 
story  of  titled  Englishman,  stranded  in  New  York, 
and  his  love  affair  with  a  good  little  actress.  Amusing 
but  not  worth  wasting  much  time.     (October.) 

WANDERING  DAUGHTERS— First  National  — 
If  you  are  a  daughter,  wander  away  from  this  picture 
and  save  your  time  and  money.     (September.) 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed 


Photoplay  Magazine — Advertising  Section 


WESTBOUND  LIMITED— F.  B.  O.—  A  homely, 
sympathetic  tale  built  about  the  railroad  and  its  men. 
A  love  interest,  too — though  hardly  necessary.  (July.) 

WHAT  WIVES  WANT— Universal.— After  many 
reels  the  husband  realizes  that  all  business  and  no 
love  will  wreck  any  marriage.  You  probably  will 
realize  it  from  the  first.      (July.) 

WHERE  IS  MY  WANDERING  BOY  THIS 
EVENING— United  Artists.— A  Ben  Turpin  comedy, 

and  as  full  of  laughs  as  any  of  his  nonsense.  He  is 
vamped  in  this  one — and  compromised.    (September.) 

WHERE  IS  THIS  WEST?— Universal.— A  pic- 
ture  for  the  small  boys.  They  will  love  it.  Doubtful 
about  others.    {November.) 

WHERE      THE      NORTH      BEGINS— Warner 

Brothers. — Rin-tin-tin,  the  dog  star,  does  his  stuff 
again.  It's  a  pity  some  of  the  two-legged  players 
can't  be  as  consistent.  He  «nakes  this  picture  worth 
while.     (November.) 

WHITE  FLOWER,  THE— Paramount.— Hawaii 
and  Betty  Compson  are  alluring.  Nothing  else 
matters  if  you  like  them.    And  who  doesn't?    (June.) 

WHITE  ROSE,  THE— United  Artists.— D.  W. 
Griffith's  latest,  bringing  Mae  Marsh  back  to  the 
screen.  The  star's  playing  is  wonderful.  So  are  the 
>ets  and  photography.  The  story  is  not  so  much. 
Ivor  Novello,  Mr.  Griffith's  new  leading  man,  is 
highly  decorative.     (.August.) 

WHITE  SISTER,  THE— Inspiration.— Another 
triumph  for  Lillian  Gish,  shared  by  Henry  King,  the 
director.  The  picture,  as  a  whole,  is  excellent,  but  the 
star  overshadows  everything.     (November.) 

WHY  WORRY?— Pathe—  Another  Harold  Lloyd 
laugh-maker.  This  time,  aided  by  a  giant,  Mr.  Lloyd 
quells  a  Central  American  revolution.  Fully  up  to  his 
standard  and  that  is  praise  enough.     (November.) 

WITHIN  THE  LAW— First  National.— An  ex- 
pensive production  with  big  names,  but  lacking 
inspiration  and  vitality.  Norma  Talmadge  seems 
afraid  to  act.  The  best  work  is  that  of  Lew  Cody  as 
the  crook.      (July.) 

WOMAN  OF  BRONZE,  THE— Metro.— Clara 
Kimball  Young  as  the  wife,  who  after  disillusionment 
and  anguish  proves  to  be  the  ideal  woman  for  her 
husband.     (June.) 

WOMAN  WITH  FOUR  FACES— Paramount  — 
A  fast  moving  crook  melodrama,  always  interesting, 
with  some  excellent  acting  by  Betty  Compson.  A 
thrilling  aeroplane  escape  from  prison  a  feature. 
^September.) 

YOU  ARE  GUILTY— Mastodon  Films.— Medi- 
ocrity with  a  distinguished  cast.     (June.) 

YOU  CAN'T  FOOL  YOUR  WIFE— Paramount. 
— Good  money  and  players  wasted  upon  an  absurd 
•-tory.  Again  the  husband  on  the  edge  of  the  restless 
forties,  the  neglected  wife  and  the  regulation  vampire. 
I  July.) 

YOUTHFUL  CHEATERS— Hodkinson—  A  story 
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"She  is  yours,  Master" — muttered 
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Occupation . 


5%  Discount  for  Cash  in  Full 


A  Referendum  for  "Fatty" 

Chicago,  111. 
Editor  Photoplay  .Magazine. 

Dear  Sir:  Having  attended  the  movie?  last 
evening,  which  was  showing  "Hollywood"  was 
positive  that  I  saw  Roscoe  Arbuckle  on  the 
screen,  and  although  it  was  mostly  the  back 
view,  I  seemed  to  see  a  sad  expression  when  I 
caught  a  glimpse  of  his  profile.  This  impress- 
ed me  very  much  and  so  I  was  determined  to 
drop  a  line  with  a  suggestion. 

Why  could  not  the  general  public  voice  their 
opinion  as  to  his  fate  by  a  country-wide  con- 
test, in  that  way  fairness  could  be  shown  with 
the  decision.  Two  wrongs  never  made  a  right, 
and  I  am  sure  the  broad-minded  people  of  the 
States  would  help  him  back  to  the  place  he 
originally  held. 

Let  the  public  decide. 

Mrs.  Grace  Sward. 

The  Protective  Instinct 

Los  Angeles,  Calif. 
Editor  Photoplay  Magazine. 

Dear  Sir:  In  defense  of  Miss  Lillian  Gish, 
"the  supreme  artist  of  the  screen,"  I  must  say 
that  Miss  May,  of  England,  whose  letter 
recently  appeared  in  Photoplay,  is  entirely 
wrong.  She  must  have  something  against 
Miss  Gish  and  D.  \Y.  Griffith,  for  who  would 
knock  that  incomparable  closet  scene  in 
"  Broken  Blossoms,"  the  tremendous  climax  of 
"Way  Down  East"  where  Anna  exposes 
Lennox,  or  Henriettas  ride  to  the  guillotine,  in 
"The  Orphans  of  the  Storm"?  I  saw  a  woman 
faint  viewing  that  scene,  so  vividly  was  it 
portrayed  by  Miss  Gish.  There  are  many 
girls  who  have  appealing  beauty,  but  they 
cannot  "laugh  through  the  tears."  Miss  Gish 
is  a  gifted  girl  and  she  must  get  credit  for  it. 
I  know  several  English  people  and  I  know  they 
are  sensible  enough  to  prefer  Lillian  to  Gloria 
Swanson.  Gloria  only  knows  how  to  wear 
clothes.  I  am  sure  Lillian  can  play  comedy 
as  well  as  her  incomparable  tragedies.  We 
men  like  to  see  Lillian  because  it  arouses  our 
protective  instinct — and  every  man  wants  to 
feel  that  he  is  the  protector! 

Ralph  Hill  Salazai. 

The  Artist  and   the  Crowd 

Saskatoon,  Sask.,  Canada. 
Editor  Photoplay  Magazine. 

Dear  Sir:  Will  you  please  publish  this  letter 
and  oblige  an  old  reader?  I  have  just  read, 
in  the  September  issue,  a  letter  from  a  Miss 
Marion  May.  of  England,  which  has  made 
me  really  indignant.  Miss  May  first  criticises 
the  reception  given  English  actresses  in  Amer- 
ica. She  mentions  Gladys  Cooper.  Now,  I 
have  seen  Miss  Cooper  on  the  London  stage, 
and,  while  she  is  fairly  good-looking,  as  an 
actress,  she  has  as  much  talent  as  some  of  our 
animated  clothes  horses.  So  I  can't  blame 
New  York  on  this  point. 

Secondly.  Miss  May  questions  Lillian  Gish's 
title  as  our  supreme  artist.  She  states  that 
Norma  and  Gloria  draw  greater  crowds  in  her 
country.  I  wonder  if  Miss  May  thinks  the 
greatest  artists  draw  the  largest  crowds? 
How  any  one  can  think  Dorothy's  acting 
superior  to  her  sister's  in  "The  Orphans" 
amazes  me.  Dorothy  as  the  Little  Disturber, 
seems  always,  to  me,  our  greatest  comedian. 
But  surely,  Miss  May,  you  were  swayed  by 
Lillian's  work  in  the  balcony  scene?  Did  you 
watch  the  light  in  her  eyes  in  that  particular 
moment?  It  was  the  light  from  within,  the 
light  that  comes  from  a  beautiful  soul!  Per- 
haps Miss  May  enjoyed  "Beyond  the  Rocks" 
more  than  the  "Orphans  of  the  Storm"?  If 
this  picture  drew  a  larger  crowd  in  Southport 
than  "Broken  Blossoms"  and  "The  Birth  of 
a  Nation,"  does  it  speak  well  for  our  English 
friends'  taste  and  appreciation  of  the  great 

16 


Brickbats 
Bouquets 

LETTERS 
FROM  READERS 


The  readers  of  Photoplay  are 
invited  to  write  this  department 
— to  register  complaints  or  com- 
pliments— /o  tell  just  what  they 
think  of  pictures  and  players. 
We  suggest  thai  you  express  your 
ideas  as  briefly  as  possible  and 
refrain  from  severe  personal  crit- 
icism, remembering  that  the 
object  of  these  columns  is  to  ex- 
change thoughts  that  may  bring 
about  better  pictures  and  better 
acting.  Be  constructive.  We  may 
not  agree  with  the  sentiments  ex- 
pressed, but  we'll  publish  them 
just  the  same!  Letters  should  not 
exceed  200  words  and  should  bear 
thewr iter's full name and address. 


things  of  the  screen?  I  do  hope  some  readers 
in  the  States  will  notice  my  letter  and  let  us 
have  their  opinions! 

Sylvia  Burgess. 

My  Indiana  Home 

Indianapolis,  Ind. 
Editor  Photoplay  Magazine. 

Dear  Sir:  I  have  just  decided  to  write  and 
defend  my  home  town.  It  really  makes  me 
sick  the  way  the  screen  portrays  the  life  of 
Indiana  people.  After  seeing  James  Kirkwood 
and  Anna  Q.  Nilsson  in  "The  Man  From 
Home,"  I  really  believe  people  think  everyone 
in  Indiana  drives  a  Ford  and  is  a  farmer.  And 
oh — those  frilly  old-fashioned  dresses  that  Miss 
Nilsson  wore!  Heavens,  some  of  the  clothes 
that  Indianapolis  girls  wear  would  make  those 
Paris  dames  sit  up  and  stare. 

Indianapolis  is  noted  for  her  beautiful  girls 
and  well  dressed  women,  and  I  guess  Monte 
Blue,  who  was  born  here,  isn't  so  bad.  As  for 
automobiles — some  of  the  best  in  the  country 
are  manufactured  right  here! 

Why  not  portray  Indiana  life  as  it  really  is, 
and  that  isn't  any  different  from  Chicago  or 
any  other  town?  Don't  pick  on  Indiana,  for 
all  the  hick  stuff,  'cause  it  makes  us  laugh  when 
we  see  the  picture! 

Lenorea  Johnson. 

The  Retiring  Favorite 

Terre  Llaute,  Ind. 
Editor  Photoplay  Magazine. 

Dear  Sir:  I  have  just  finished  reading  your 
October  "Brickbats  &  Bouquets."  The  brick- 
bat Mrs.  Lamos  Jamerson  throws  at  Mary 
Pickford  has  aroused  my  indignation.  But 
the  bouquet  "A  Reader"  hands  her  has 
partially  made  up  for  it. 

How  anyone  can  fail  to  appreciate  Miss 
Pickford  is  beyond  me.     Her  naturalness,  first 


of  all,  proclaims  her  a  fine  actress,  she  does 
anything  but  pose,  while  her  beauty,  intelli- 
gence, and  winsomeness  have  placed  her  at 
the  head  of  the  list.  As  to  her  having  "an 
air  of  aloofness,"  just  because  she  is  of  a  rather 
retiring  nature  and  does  not  seek  publicity! 
Mrs.  Jamerson  writes  that  "the  effect  is 
ridiculous."  I  hope  the  absurdity  of  her 
brickbat  will  make  even  more  friends  for  Mary. 
Just  a  word  of  appreciation  for  some  others 
who  rank  very  high  in  my  estimation.  "Doug," 
the  Talmadges,  Chaplin,  Thomas  Meighan, 
Marion  Davies,  Dick  Barthelmess,  Lillian 
Gish,  Charles  Ray  and  many  more  who  are 
sincerely  trying  to  give  the  public  better 
pictures.  I  am  looking  forward  to  seeing  a 
great  many  of  them  this  winter. 

M.  T. 
Call  For  Cal 

Kankakee,  111. 
Editor  Photoplay  Magazine. 

Dear  Sir:  I  sincerely  hope  that  you  will 
keep  on  publishing  Cal  York's  "East  and  West 
Gossip"  for  years  to  come.  Whenever  you 
print  things  that  "aren't  quite  nice"  about 
players,  at  least  you  refrain  from  mentioning 
names,  for  which  I  thank  you.  The  stars  are 
"played  up"  enough  by  the  newspapers.  The 
public  is  sickening  of  this  "mud  slinging."  If 
you  could  only  have  been  in  Chicago  when 
Arbuckle  staged  his  come  back!  A  man  who 
was  guilty  could  never  have  impressed  us 
as  Arbuckle  did.  He  showed  us  that  the  news- 
papers are  cruelly  unjust  to  the  movie  folk. 
Of  course,  I  know  that  some  players  aren't 
just  right,  but  we  don't  have  to  go  to  Holly- 
wood to  find  people  who  aren't  just  right. 

The  second  paragraph  of  the  September 
"Gossip"  impressed  me  very  much,  for  I 
think  it  was  written  by  one  who  understands 
what  such  a  friendship  as  Hal  Roach's  and 
Lloyd's  must  mean.  The  writer  must 
have  known  just  such  a  friendship  to  realize 
the  bigness  and  beauty  of  it.  Our  scenario 
writers  have  not  played  upon  this  theme  as 
yet.     Do  you  think  they  ever  will? 

Dick  Durand. 

The  Wand  For  Wanda 

Tulsa,  Okla. 
Editor  Photoplay  Magazine. 

Dear  Sir:  I  should  like  to  give  utterance 
to  some  of  the  things  that  have  been  on  my 
mind  for  some  time  regarding  the  movies.  I 
thoroughly  disagree  with  the  likes  and  dis- 
likes of  most  of  the  young  fans  of  today. 
Though  only  a  young  girl  myself,  I  must  say 
that  the  younger  set  are  mostly  fickle  and  blind 
to  art  on  the  screen.  A  pretty  face  seems  to 
be  worth  more  to  them  than  an  intelligent 
actor  or  actress. 

I  want  to  agree  heartily  with  Agnes  Lindsley 
that  the  late  Wallace  Reid  far  surpassed 
Rodolph  Yalentino  in  looks,  physique,  and 
acting  ability.  I,  for  one,  am  not  a  Valentino 
fan  and  never  was.  When  he  visited  our  city 
he  made  a  perfect  mess  of  himself.  He  is  dead 
so  far  as  most  of  us  are  concerned.  I  think 
such  screen  celebrities  as  Henry  B.  Walthall, 
Thomas  Meighan,  Eugene  O'Brien,  and 
Antonio  Moreno  far  surpass  him  in  acting 
ability  and  some  of  them  in  looks  also! 

I  should  like  to  say  a  word  for  Wanda 
Hawley.  Why  don't  we  hear  more  of  her? 
Has  she  left  the  screen,  and  if  not.  why  don't 
we  ever  see  her  any  more?  To  my  notion  she 
is  the  most  beautiful  blonde  in  pictures  and 
as  capable  as  any.  She  has  a  charming,  sweet 
way  that  appeals  to  the  fan  who  likes  to  see 
anyone  act  natural  on  the  screen,  in  preference 
to  those  more  noted  actresses  who  are  con- 
stantly posing,  or  flying  into  unnatural  fits  of 
anger,  passion  or  joy. 

B.  M.  B. 
1  [  continued  on  page  20  ] 


Photoplay  Magazine — Advertising  Section 


Thousands 
Are  Now 
Finding  It 
Easy  To  Have 
the  Slim, 
Trim  Figure 
Dictated  By 
Fashion  and 
Admired 
By  All 


Way 


Feci  Young— Look  Young 

There  is  nothing  which  adds  to  a  person's  age  so  much  as  fat. 
A  few  extra  pounds  makes  any  man  or  woman  look  from  five  to 
ten  years  older.  Not  only  that,  the  excess  weight  and  increased 
heart  action  saps  vitality  and  energy. 

Once  the  gland  which  controls  your  fat  is  functioning  properly 
your  food  should  be  turned  into  firm,  solid  flesh  and  muscle.  As 
your  weight  comes  down  to  normal  you  should  experience  a 
delightful  and  amazing  improvement  in  your  appearance.  You 
should  not  only  feel  and  look  younger — you  should  actually  be 
younger.  You  should  also  be  in  better  health — a  real  health  of 
energy — not  the  fictitious  and  deceiving  health  of  fat  that  insur- 
ance companies  say  shortens  the  life  ten  years. 

Complexion,  health  and  figure  are  improved  at  the  same  time. 
The  result  isnewvitality,magnetismand  personal  charm  that  makes 
for  success.     Tasks  once  hard  become  easy  and  life  worth  while. 

Quick  Results Rid-O-Fat,  the  scientific   compound, 

.  comes  in  convenient  tablet  form,  and 

NO  E XetCI S6 — is  practically  tasteless.  You  simply 
«.     ~.  ..        .fc.    ..      .    take  one  at  each  meal  and 

NO  Starvation  Dieting,  bedtime.  Results  often 
surprising  in  their  rapidity. 

Within  a  few  days  you  should  be  conscious  of  a  new  feeling  of 
energy  and  lightness,  taking  the  place  of  that  tired,  worn-out 
feeling. 

Quickly  as  the  fat  gland  resumes  normal  functioning  you  should 
lose  weight  in  a  healthy,  normal  manner.  Many  fat,  ungainly 
figures  are  in  this  scientific  manner  helped  to  regain  their  normal 
and  idealistic  proportions,  giving  that  fashionable  slenderness 
and  athletic  poise. 

And  all  this  time  you  live  as  you  please. 

Nature  is  doing  the  work.  No  more  irksome  exercise — no 
more  denying  yourself  of  all  the  things  you  like.  Take  just  one 
small,  pleasant,  Rid-O-Fat  tablet  after  each  meal.  Could  any- 
thing be  more  simple? 

Rid-O-Fat  Used  by  100,000  People 

Since  the  announcement  of  the  wonderful  Rid-O-Fat  formula 
it  has  been  used  by  more  than  100,000  people.  Twenty  to  thirty 
thousand  more  people  are  writing  for  it  every  month.     The  fol- 


Science  Discloses  Method  of  Quickly 
Reducing  Excess  Weight— Many  Losing  a 
Pound  a  Day  Without  Starvation  Dieting 
or  Exercise — Greatly  Improves  Appear- 
ance.   Generous   Sample   Sent   FREE. 

A  RE  you  fat  ?     You  shouldn't  be.     Without  rigorous  diet- 
£\   ing  or  exercise — by  a  simple,  natural  process — you 
should  quickly  and  easily  be  able  to  have  the  slender, 
fashionable  figure  that  is  so  attractive. 

Scientists  have  discovered  that  excess  fat  is  often  caused 
by  the  subnormal  action  of  a  small  gland.  Once  this  gland 
is  healthy  and  functioning  properly,  your  weight  should  reduce 
naturally  and  without  effort  on  your  part,  to  the  normal 
amount  for  your  height. 

And  science  has  discovered  a  simple  extract  which  tends  to  regulate 
the  gland  that  controls  fat.  Without  lifting  a  hand  in  unnecessary 
and  violent  exercise,  you  should  find  it  a  delightfully  simple  mattei 
to  have  the  ideal,  slender  figure  admired  by  everyone. 

The  wonderful  thing  about  the  scientific  formula  known  as  Rid-O-Fat 
is  that  in  losing  your  superfluous  fat  you  should  gain  added  vigor, 
health  and  energy  of  mind  and  body. 

lowing  letters  show  what  users  think  of  the  scientific  Rid-O-Fat 
system  of  fat  reduction : 

Lost  Forty-One  Pounds  in  Thirty  Days 

"When  I  wrote  for  your  Rid-O-Fat  sample  I  weighed  245 
pounds.  Today,  which  is  30  days  later,  I  weighed  only  204 
pounds.  A  reduction  of  41  pounds  in  a  month.  I  am  delighted. 
Please  send  me  another  30-day  treatment,  as  I  want  to  reduce  to 
145  pounds,  which  is  the  correct  weight  for  my  height.  I  am 
sure  that  I  will  realize  my  ambition  with  Rid-O-Fat  and  I  feel 
better  than  I  have  in  years." 

Lost  Twenty  Pounds  In  Three  Weeks 

"According  to  weight  tables  I  weighed  exactly  20  pounds  too 
much.  Rid-O-Fat  reduced  me  to  normal  in  just  a  little  more  than 
three  weeks.  I  feel  better,  don't  get  tired,  and  my  friends  say 
I  look  like  a  new  person." 


Generous  Sample  FREE 

I  want  every  fat  person  to  have  a  chance  to  try  Rid-O-Fat  in  their  own 
homes  at  my  expense.  I  don't  want  them  to  take  my  word  or  (hat  of  the 
thousands  who  have  used  it.  I  want  them  to  see  for  themselves  that  the 
results  are  more  pleasing  than  anything  I  can  say.  To  introduce  Rid-O- 
Fat  in  a  million  more  homes  I  will  send  a  free  sample  to  anyone  who  will  write 
for  it.  In  fact  it  is  really  more  than  a  sample,  as  it  is  sufficient  to  reduce  the 
average  person  several  pounds.  I  will  also  send  with  the  sample  an  inter- 
esting booklet  that  explains  the  scientific  reason  for  fat,  and  why  Rid-O-Fat 
meets  with  the  highest  approval. 

f±  m  kb      ii_  "       -e  W      Don't  send  a  penny — I  will  send  the 

(.OS'S      fWOtfl lfl£  ■       samPle  ;inri   the  booklet   under  plain 
^^  »  wrapper   and    fully   postpaid.      This 

does  not  obligate  you  in  any  way  and  is  never  to  cost  you  a  cent.     It  is  simply  a 
limited  offer  I  am  making  to  more  generally  introduce  Rid-O-Fat. 

This  free  offer  is  good  for  only  a  short  time,  so  send  me  your  name  and  ad- 
dress on  the  coupon  below  or  a  post  card ,  and  I  will  see  that  the  generous  sample 
and  booklet  are  mailed  immediately  under  plain  wrapper  postpaid.  Do  not  try 
to  get  Rid-O-Fat  at  drug  stores  as  it  is  distributed  only  direct  from  my  labor- 
atory to  you — remember  this  is  a  short  time  offer  and  send  your  name  at  once. 
H.  C.  HAIST,  Whinton  Laboratories,  1515  Coca  Cola  Bldg.,  Kansas  City,  Mo. 

H.  C.  HAIST,  Whinton  Laboratories, 
1515  Coca  Cola  Bldg.,  Kansas  City,  Mo. 

Without  obligation  in  any  way  and  with  1'ic  und  rstanding  it  is  not  to  cost 
me  a  cent  at  any  lime,  please  send  me  your  generous  free  sample  of  Rid-O-Fat 
and  free  booklet  under  plain  wrapper. 


Name . 


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When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE, 


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DON'T  WEAR 
A  TRUSS 

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For  a  good 

Christmas  Suggestion 

see  page  23 


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Travel  —  See   the 
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MEN— BOYS       ,/ 
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Sirs  :  Send  mo  without  charge 
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AGENTS.  NEW  WONDERFUL  SELLER.  OVER 
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AGENTS— SEND  FOR  SWORN  PROOF  OF  $5  TO 
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MAKE  $120  WEEKLY  IN  SPARE  TIME.  SELL 
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Photoplay  Magazine — Advertising  Section 


Title  Reg.  U.  S.  Pat.  Off. 
rTyHlS  is  YOUR  Department.  Jump  right  in  with  your  con- 
•*•  tribution.  What  hare  you  seen,  in  the  past  month,  that 
was  stupid,  unlife  like,  ridiculous  or  merely  incongruous?  Do 
not  generalize;  confine  your  remarks  to  specific  instances  of  ab- 
surdities in  pictures  you  have  seen.  Your  observation  will  be 
listed  among  the  indictments  of  carelessness  on  the  part  of  the 
actor,  author  or  director. 


l9 


SMASHING  REALISM 

I'D  like  to  smash  a  few  errors  in  William 
Duncan's  picture  "Smashing  Barriers."  It 
is  curious  how  a  stranger  in  a  strange  lumber 
camp,  none  other  than  Duncan  himself,  can 
find  his  way  to  the  mess  kitchen  without  hav- 
ing been  told  where  it  is !  It  is  curious  how  much 
wealth  a  chap  can  pick  up  cutting  logs  and 
washing  dishes — but  Duncan  did  it.  In  a 
comparatively  brief  space  of  time  he  acquired 
enough  filthy  lucre  by  the  sweat  of  his  brow 
to  buy  up  an  option  on  an  oil  claim,  buy  an 
automobile,  hire  men  and  erect  a  derrick  at 
the  prospective  well. 

It  is  curious  how  hard  the  hero's  head 
usually  is.  In  an  attempt  to  rescue  a  paper, 
Bill  Duncan  gets  walloped  over  the  head  with 
a  heavy  Colt  .45  revolver,  which  lays  him  out 
for  about  ten  seconds!  A  moment  thereafter 
he  receives  a  second  blow  on  the  head  with  a 
clubbed  rifle  with  a  full  swing,  that  was 
enough  to  brain  an  elephant  and  muss  up  the 
landscape  generally.  But  inside  of  ten 
minutes  he  is  fighting  like  a  wildcat! 

And  to  top  it  off  he  struck  a  well  of  refined 
oil!  That  is  to  say,  it  was  gasoline,  water,  or 
something  equally  colorless.  Personally,  all 
the  crude  oil  I  ever  saw  was  dirty — black! 
But  his  was  clear  and  sparkling  like  spring 
water — and  he  got  five  millions  for  it! 

Harold   H.    Harriss,    Berkeley,    Calif. 

THE  BRIGHT  DAGGER 

IN  "The  Bright  Shawl,"  after  La  Cava!  was 
stabbed,  the  dagger  did  not  show  a  sign  of 
blood.  Was  she  made  of  sawdust?  That  is 
the  only  mistake  I  saw,  and  I  can  truthfully 
say.  that  I  hope  it  is  the  only  one ! 

H.  F.  O.,  Monrovia,  Calif. 

HER  TEMPERATURE  WENT  DOWN 

IN  "Mary  of  the  Movies"  the  star  is  sick  in 
bed  and  the  doctor  puts  a  thermometer  into 
her  mouth.  In  the  next  flash  she  is  speaking. 
How  come?  Did '  she  swallow  the  ther- 
mometer? 

Robert  Clifford,  Jamaica,  L.  I. 

PUTTING  ON  THE  STEAM 

WHY  go  against  custom  and  the  best 
interest  of  a  progressive  city  and  bring  a 
steam  engine  into  Grand  Central  station  just 
to  make  "The  Dangerous  Age"?  Didn't  the 
director  know  that  the  New  York  Central 
Railroad  never  uses  steam  engines  south  of 
the  town  of  Harmon,  which  is  thirty-three 
miles  up  the  Hudson  river?  To  this  point 
from  New  York  the  road  is  electrified  and 
therefore  uses  electric  engines.  This  mistake 
is  magnified  further  when  he  has  Lewis  Stone 
racing  in  his  car  to  overtake  the  train  at 
Harmon,  which  is  still  being  pulled  by  the 
steam  engine. 

Sophronia  J.  Timus,  New  York  City. 

BETTER  THAN  BURBANK 
T  WENT  to  see  "My  American  Wife"  yester- 
-*-  day  afternoon.    It  was  a  very  good  picture, 
except  for  one  mistake  that  I  noticed. 

After  Antonio  Moreno  had  been  wounded  in 
a  duel  and  was  staying  at  his  country  home, 
some  small  Spanish  boys  brought  him  a  bou- 
quet of  flowers  which  he  gave  to  Gloria  Swan- 
son.  It  showed  a  close-up  of  the  flowers  and 
they  are  plainly  daisies.  But,  later,  when  an- 
other close-up  is  shown,  they  are  asters. 

I.  G.,  Kokomo,  Ind. 


THE  PARTING  OF  THE  WAVES 
TN  "Youth  to  Youth,"  Billie  Dove  and  her 
-^-guardian  are  discussing  an  important  subject 
in  one  scene  and  her  hair  is  parted  on  the  left 
side.  The  very  next  scene  it  is  parted  on  the 
right  side  though  they  are  still  talking  as  in  the 
former  scene.  Why — and  how — the  sudden 
change  of  coiffure? 

S.  P.  R.,  Syracuse,  N.  Y. 

A  BULLET  AND  A  RING 
TN  "One  Exciting  Night,"  two  shots  are  fired, 
-'-one  entering  a  man's  body  and  the  other 
going  into  the  wood  of  the  mantelpiece.  When 
this  evidence  is  dug  out  with  a  penknife,  the 
whole  bullet — brass  head  and  lead — is  there. 
I  know  a  little  about  firearms  and  such  a  feat 
is  impossible.  Also  in  "Anna  Ascends,"  Alice 
Brady  is  supposed  to  be  an  unmarried  im- 
migrant girl,  yet  in  several  parts  she  wears  a 
solitaire  and  a  diamond  wedding  ring. 

.  B.  M.,  Atlanta,  Ga. 

TIME  FOR  A  MARCEL 
TN  "  Quicksands,"  a  villain  pulled  off  Marian's 
-*-(Helen  Chadwick)  wig,  revealing  her  hair 
almost  straight.  A  few  hours  later,  while 
locked  in  a  room  upstairs,  her  hair  was  as 
beautifully  curled  as  though  she  had  just 
stepped  out  of  a  beauty  parlor.  I  wonder  if  the 
villains  furnished  her  with  a  curling  iron  and 
mirror. 

In  the  same  picture,  when  the  captain  re- 
ported the  time  in  Washington  as  being  ten 
o'clock,  the  clock  on  the  wall  said  five-thirty. 
Mabel  McMurphy,  Sioux  City,  Iowa. 

DOUG— THE  ELOQUENT 
TN  "A  Man  of  Action,"  Douglas  MacLean  has 
-*-no  trouble  convincing  anybody  he  is  the 
Chicago  Kid  when  he  talks,  as  his  English  is 
very  poor.  However,  when  the  men  come  in 
to  deliver  the  diamonds,  he  talks  so  perfectly 
that  they  believe  him  to  be  Bruce,  the  man  they 
are  looking  for.    How  come? 

Pearl  Grossman,  New  York  City. 

WAY  AHEAD 

TN  "Java  Head,"  which  was  a  story  of  1840, 
-•-when  candles  were  used,  the  Ammidon  family 
were  seen  dining. 

As  the  meal  progresses  the  maid  is  seen  serv- 
ing coffee  from  an  electric  percolator. 

How  come,  when  electricity  was  not  used? 
H.  L.  M.,  Aberdeen,  Wash. 

LIKELY  BUT  UNCONVENTIONAL 
T"\ON'T  you  think  that  in  "Down  to  the  Sea 
-*-'in  Ships"  it  was  extremely  unlikely  for  a 
Quaker  girl  of  long  ago  to  go  out  to  meet  her 
lover  in  her  nightgown?  It  would  be  odd 
even  for  a  girl  of  this  free  and  easy  age. 

H.  Lane,  New  York  City. 

CALLING  THE  TURN 
T  HAVE  been  an  actress  for  over  ten  years. 
-*-  In  that  time  I  have  appeared  in  many  com- 
panies, both  Shakespearean  and  otherwise,  and 
yet  I  have  never  heard  back  stage  "second  call 
for  the  curtain"  as  was  put  in  the  screen  play, 
called  "Success."  The  director  evidently 
thought  it  was  a  Pullman  dining  car.  Brandon 
Tynan,  who  appeared  in  the  production,  never 
saw  that  title,  I'll  bet.  He  must  know  the 
call  boy  always  says  "half  hours,"  "fifteen 
minutes,"  then  "overture." 

Mona  Morgan. 


He  believes       He  In 
ia  Luck         Himself 


Dolbu  Believe 


in  Luck? 


Thousands  waste  the  best  years  of  their 
life  waiting  for  some  "stroke  of  luck"  to 
make  them  successful.  Two  men  starting 
exactly  alike  as  babies  with  the  same 
kind  of  attention — then  as  boys  with  the 
same  advantages  of  education — then  as 
young  men  feeling  around  for  a  start  in 
life — and  then  after  the  final  test  as 
men,  one  is  a  failure, 
At  the  Age  of  2    the  other  a  big  suc- 

f  A   cess.    Is  it  luck?    No 

g|    indeed. 

Luck  vs.  Self 

The  one  who  succeeded 
believed  in  himself.  He 
grabbed  his  opportunities 
as  he  sawthem  and  made 
good  because  he  was  pre- 
pared. He  planned  his 
progress  step  by  step  and 
fitted  himself  with  special 
training  for  the  line  of 
work  he  wanted  to  follow 
and  liked  the  best.  The 
other  fellow — the  failure 
—  blinded  by  his  un- 
reasoning belief  in  luck 
that  never  came,  could 
only  say :  "That  mansure 
was  born  lucky." 

There  Is  No 
Luck 

Luck  is  exactly  what  you 
make  it.  There  is  an  old 
saying — "Those  who  have 
—get."  The  more  you  go 
after  a  nd  get  f  or  y  ourself 
instead  of  waiting  for 
"luck"  to  come,  the  more 
good  fortune  is  forced  on 
you.  Those  who  are  pa- 
tiently waitingf  or  some- 
thing good  to  turnupare 
invariably  disappointed 
in  life — those  who  know 
that  they  can  make  their 
own  good  fortune  always 
find  plenty  of  it  waiting. 

Stop  Idle 
Dreaming 

Take  action  and  make 
your  dreams  come  true. 
Make  up  your  mind  to  be 
a  success  in  that  line  of 
work  or  profession  you 
like  best — get  the  special 
training  that  will  fit  you. 
Do  thisand  you  will  make 
your  own  good  luck.  But 
remember,  the  big  thing 
is  to  be  prepared — to  have 
the  special  training  that 
will  enable  you  to  make 
use  of  the  many  oppor- 
tunities that  will  surely 
come  your  way  just  as 
soon  as  you  have  un- 
bounded faith  in  yourself. 
Now  take  the  first  and 
really  most  important 
step  in  making  your  own 
good  luck  by  sending  in 
the  coupon.  This  puts 
you  under  no  obligation 
and  no  agents  will  bother 
you. 

American  School 

Drexel  Ave.  &  58th  St. 
Dept.  Gan  Chicago 

©A.S.  1923 


7  \ 

He  stilt      -and  He  In 
believes  Himself 

in  Luck 

At  the  Age  of  30 


w  * 

Beginning       Sure  of 
to  doubt  Himself 

His  Luck 

At  the  Age  of  40 


Down  and  Well 

Out  Provided 


American  School,  Dept.  G971 

Drexel  Ave.  &  58th  St.    Chicago 

Send  me  full  information  on  how  I  can  best  suc- 
ceed in 

(Write  in  here  what  line  of  work  or  profession 
you  like  best) 
This  request  is  to  put  me  under  no  obligation 
and  no  agents  are  to  bother  me. 

Name 

Address 

(Use  margin  of  this  magazine  if  you  need  more  space 


to  write) 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


20 


Photoplay  Magazine — Advertising  Section 

Brickbats  and  Bouquets 

[  CONTINUED  FROM  PAGE  16  ] 


DO  YOU  SEE  YOURSELF  AS  OTHERS  SEE  YOU? 


A  NEW  SCIENTIFIC,  PAINLESS  METHOD  OF 
CORRECTING     ILL-SHAPED 


A  perfect  lookii 
nose  can  easily 
be  yours  •  s  * 


NOSES   AT    HOME 


TIME  ADVANCES  —  as  does  science  succeed  in 
perfecting  each  invention.  My  15  years  of  experi- 
ence in  manufacturing  and  selling  Nose  Shapers  have 
proven  to  me  that  I  can  now  offer  to  the  unfortunate 
possessors  of  ill-shapen  noses  the  most  meritorious  Nose 
Adjuster  of  the  age.  My  latest  improved  Model  No.  25 
(U.  S.  and  many  foreign  patents)  has  so  many  superior 
qualities  that  it  surpasses  all  my  previous  shapers  and 
other  Nose  Adjusters  by  a  large  margin. 

In  the  first  place,  my  newest  appliance  is  better 
fitting:  the  adjustments  are  such  that  it  will  fit  every 
nose  without  exception — my  apparatus  is  constructed 
of  light  weight  metal,  and  is  afforded  very  accurate 
regulation  by  means  of  six  hexagonal  screws,  which  are 
regulated  with  a  key  and  the  screws  are  then  locked  in 
the  desired  position.  These  screws  will  bring  about 
the  exact  pressure  for  correcting  the  various  nasal 
deformities — such  as:  long — pointed  nose — pug — hook 


or  shrew  nose — and  turned  up  nose — and  will  give 
marked  success  in  modulating  the  distended  or  wide 
nostrils.  There  are  no  straps  to  be  pulled  in  order  to 
exert  pressure  on  the  nasal  organ. 

Model  No.  25  is  upholstered  inside  with  a  very  fine 
chamois  (covering  a  layer  of  thin  metal)  which  protects 
the  nose  from  direct  contact  with  the  apparatus;  this 
lining  of  metal  causes  an  even,  moderate  pressure  en 
the  parts  being  corrected,  thus  avoiding  a  harsh,  violent 
pressure  in  any  one  place. 

Model  No.  25  is  guaranteed,  and  corrects  now  all  ill- 
shaped  noses  without  operation,  quickly,  safely,  comfort- 
ably and  permanently.  It  is  to  be  worn  at  night  and, 
therefore,  will  not  interfere  with  your  daily  work. 

//  you  wish  to  have  a  perfect  looking  nose,  write  today 
for  my  free  booklet  which  tells  you  how  to  correct  ill- 
shaped  noses  without  cost,  if  not  satisfactory. 


M.  TRILETY,  Face  Specialist,  1940  Ackerman  Bldg.,  BINGHAMTON,  N.  Y. 


II 


Don't  Shout 


yy 


"I  heat  you.      I  can  hear 
now  ax  well  as  anybody. 
'How-?    Wilh  the  MORLEV 
PHONE.  I've  a  pair  in  my  eats 
now.  but  they  are  invisible.  I 
would  not  know  I  had  them  in  _ 

myself.only  that  1  hear  allright." 
The  MORLEV  PHONE  for  the 


DEAF 


is  to  the  eats  what  glasses 
are  to  the  eyes.      In- 
visible, comfortable,  weight- 
less and  harmless.     Anyone 
can  adjust  it.    Over  100.000  sold.     Write  for  booklet  and  testimonials 
THE  MORLEY  CO.. Dept. 789. 26  S.  1 5th  St.  Phila. 


Play  this  Jazzy  Sax 
Without  Practice 

Any  one  can  play  this  imported  Jazzy 
Sax  right  away.    No  knowledge  of 

music  required,  no  lessons.  Play  by  nur 
bers  Instead  of  notes.    All  tnstructloni 
and    15   songs   free  I    Be   popular   at 
partlea,    dances,  picnics,    entcrtalr 
menta.  Glistening  polished  6; 


the  same  size. 

Play  Jazz 

RightAway 

Weighs  over  _ 
lbs.  Beautiful, 
clear,  ringing 
tones  and  da 
llg-htful    bar 
mooy. 

Supply 
Limited 


7Beatty, 

says:  "This  is 

easy:  I  played 

tunes  after  fifteen 

mutes  and  am  de- 

_hted."  No  need  to 

spend  $86  when  you 

can  own  a  Jazzy  Sax. 

Send 
Money 

Send  just  your  name.  When  the  Sax 
arrives  pay  the  postman  only   $6.98 
plus  a  few  pennies  postage.  Guar- 
anteed  or   money   refunded.     Don't 
delay,  act  now  1 
FERRY  &  COMPANY,  Dept.  1723 
75W.  VanBuren  Chicago,  Illinois 


SAVE  YOUR  BODY 

Conserve  Your  Health  and  Efficiency  First 

"I  Would  Not  Part  With  It  lor  $10,000" 

So  writes  an  enthusiastic,  grateful  customer.     "Worth  more  than  a  farm," 
says  another.     In  like  manner  testify  over  100,000  people  who  have  worn  it 

THE  NATURAL 
BODY  BRACE 

Overcomes  WEAKNESS  and  ORGANIC 
AILMENTS  of  WOMEN  and  MEN.  De- 
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health  and  strength. 


Wear  It  30  Days  Free 
At  Our  Expense 

Does  away  with  the  strain  and 
pain  of  standing  and  walking; 
replaces  and  supports  mis- 
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duces enlarged  abdomen; 
straightens  andstrength- 
ens    the    back;  corrects 
stooping  shoulders;  de- 
velops lungs,  chest  and 
bust;  relieves  backache, 
curvatures,  nervousness, 
ruptures,    constipation, 
after  effects  of  Flu.  Com 
fort  able  and  easy  to  wear. 

Keep  Yourself  Fit 

Write  today  for  illustrated  book- 
let, measurement  blank,  etc.,  and 
read  our  very  liberal  proposition. 


For 

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and 

Girls 

Also 


HOWARD  CRASH  Pres 


330  Rash  Bldn-  SAMNA.  KANSAS 


Two  Older  Stars 

Tampa,  Florida. 
Editor  Photoplay  Magazine. 

Dear  Sir:  Why  do  so  many  fans  either 
throw  bouquets  or  brickbats  to  the  young 
stars?  I  think  Lewis  Stone  is  a  superb  actor, 
also  Lionel  Barrymore,  the  Beery  brothers  and 
men  of  their  age — one  really  appreciates  their 
acting,  they  are  thorough  and  seem  to  live 
their  parts — even  as  the  younger  ones. 

Mae  N.  Bachman. 


From  An  Old  and  Constant 
Reader 

Saskatoon,  Sask.,  Canada. 
Editor  Photoplay  Magazine. 

Dear  Sir:  Will  you  give  an  old  and  constant 
reader  of  Photoplay  a  little  space  in  the  Fan's 
Department? 

Why  don't  you  give  us  more  in  your  maga- 
zine about  Lillian  Gish,the  greatestof  them  all? 
Each  month  I  look  for  an  interview  with  her, 
something  about  her  work,  or  some  new 
studies.  And  I  am  nearly  always  disappointed. 
Surely,  one  who  has  done  so  much  for  the 
screen  as  Miss  Gish  deserves  more  attention 
than  you  give  her.  I  must  say  you  give  us 
a  good  deal  about  her  sister,  Dorothy,  which  is 
just  as  it  should  be.  Let's  have  more  of  these 
two  charming  girls  as  well  as  Leatrice  Joy, 
Jacqueline  Logan,  Mae  Busch,  Ramon  No- 
varro,  Barbara  La  Marr  and  Valentino,  and 
less  of  Pola  Negri,  Charles  de  Roche,  Pauline 
Garon,  Milton  Sills  and  Wanda  Hawley. 

And  when  you  are  making  your  nominations 
for  stardom  in  that  excellent  new  department 
of  yours,  don't  forget  to  include  Mae  Busch, 
Jacqueline  Logan  and  Ramon  Novarro.  I  like 
the  Shadow  Stage  the  best  of  any  of  your 
departments.  You  don't  know  how  much  time 
and  money  it  has  saved  me.  While  handing 
out  bouquets,  I  mustn't  forget  to  thank  you  for 
putting  an  art  supplement  in  the  middle  of 
Photoplay.     It  improves  it  immensely. 

R.  E.  S. 


A  Pleasing  Outburst 

Brooklyn,  New  York. 
Editor  Photoplay  Magazine. 

Dear  Sir:  Usually  I  am  in  thorough  accord 
with  everything  that  is  published  in  your 
magazine — news,  gossip,  interviews,  etc. — 
everything.  Photoplay  to  me  always  has 
been  and  is  now  the  finest  motion  picture 
magazine  on  the  market.  But,  for  once,  I 
must  take  exception  to  a  news  note  which 
appeared  in  last  month's  issue  (Cal  York's 
department)  in  regard  to  Glenn  Hunter. 

Why  should  you  infer  that  Mr.  Hunter  has 
a  "swelled  head"  just  because  he  is  living  at 
the  Hotel  des  Artistes?  Why  even  intimate 
it?  Don't  you  think  it  reasonable  that  a 
young  man,  who,  over  night,  has  become  a 
stage  idol  because  of  his  own  ability,  and  be- 
cause of  said  ability  has  maintained  a  tremen- 
dous popularity,  should  be  able  to  live  at  the 
Hotel  des  Artistes?  I  am  quite  sure  the  sign- 
ing of  his  Famous  Players  contract  had  nothing 
to  do  with  his  residence  there,  and,  even  if  it 
had,  does  it  necessarily  mean  he  has  a 
"swelled  head"? 

You'll  wonder,  I  suppose,  about  my  interest. 
Yes,  I  know  Mr.  Hunter,  but  it  is  merely  a 
passing  acquaintance.  Just  the  same,  I 
gleaned  from  meeting  him  once  that  he  will 
never  reach  the  stage  where  success  will  make 
him  "uppish"  or  "swell-headed,"  as  you  term 
it.  I  met  Mr.  Hunter  for  the  second  time 
while  he  was  in  his  sixth  successful  month  of 
"Merton  of  the  Movies"  and  he  was  just  as 
democratic  then  as  when  I  first  met  him  some 
two  years  ago.  and  practically  unknown. 
Tesse  Michaels. 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 
,  Youth,  and  Morning" 


21 


"Sprin 

W.  Philadelphia,  Penna. 
Editor  Photoplay  Magazine. 

Dear  Sir:  Here  is  a  bouquet  for  "Where 
the  Pavement  Ends."  Whether  it  satisfies 
the  critic  as  an  unusually  good  picture  I 
neither  know  nor  care.  It  gave  me  the  most 
restful  feeling  I  have  had  for  some  time. 
Such  a  change  from  housework,  high  prices 
and  political  propaganda!  I  think  it  an 
extraordinarily  beautiful  picture,  poetic  and 
full  of  charm.  Scenery  and  people — the  two 
principals,  harmonize.  Ramon  Novarro  not 
only  has  a  beautiful  profile  but  he  has  grace 
and  he  can  act.  To  me  he  carried  something 
of  the  atmosphere  of  old  Greece,  one  was 
reminded  of  Endymion,  or  some  other  Greek 
peasant  boy — "a  metaphor  of  spring,  and 
youth  and  morning."  Others  who  saw  this 
picture  were  equally  delighted.  Alice  Terry 
is  so  lovely  to  look  at  one  has  not  the  heart  to 
criticize  her  acting.  Harry  Morey  is  wonder- 
fully good — but  he  cannot  transport  us  to 
another  and  more  restful  world. 

Wanda. 

Our  Own  Perfect  Lover 

Louisville,  Ky. 
Editor  Photoplay  Magazine. 

Dear  Sir:  I  have  been  wanting  to  write  you 
for  a  long  time  and,  since  seeing  Richard  Bar- 
thelmess  in  "The  Bright  Shawl,"  I  refrain  no 
longer.  I  am  indeed  glad  to  see  Mr.  Barthel- 
mess  leaving  the  bare-foot  country  boy  stories; 
he,  of  course,  played  them  well,  but  he  is  cap- 
able of  far  greater  roles.  The  screen  is  suffering 
the  loss  of  a  perfect  lover  now  since  we  no 
longer  have  Valentino,  Eugene  O'Brien  and  our 
beloved  Wallace  Reid.  Mr.  Barthelmess  is  one 
of  the  few  men  in  the  world  who  can  depict 
love  by  every  gesture  of  the  hands,  every  move 
of  the  body,  every  expression  of  the  mouth, 
eyes  and  brows,  as  is  shown  in  the  few  tender 
love  scenes  in  "The  Bright  Shawl."  We  for- 
give you,  Dick,  for  the  fencing  scene — of  course 
you  had  to  have  a  little  fighting — but  you  are 
far  more  charming  in  the  role  of  a  lover  than 
always  fighting.  How  wonderful  to  have  our 
own  American  boy  "the  perfect  lover"  of  the 
screen.  Here's  hoping  he  will  have  more  roles 
of  this  kind  to  portray. 

B.  B. 

Consistently  Thomas 

Cingsion-on-Thames,  London. 
Editor  Photoplay  Magazine. 

Dear  Sir:  As  an  ardent  admirer  of  Tommy 
Meighan  I  feel  I  must  answer  those  questions 
in  " Close- Ups  and  Long  Shots"  in  a  recent 
issue. 

Could  true  admirers  of  Tommy  be  other  than 
consistent?  Because  he  is  neither  the  type  nor 
the  nature  to  attract  people  who  would  write 
a  sloppy,  mushy  letter.  His  is  rather  a  follow- 
ing of  sensible,  business-like  people  who  prefer 
a  true  man  to  one  who  can  merely  make  love. 
Although  for  love  scenes,  could  any  beat 
Tommy's?  I  think  one  of  the  finest  endings 
was  the  one  in  "A  Prince  There  Was."  His 
expression  as  he  held  the  child  on  the  pony 
beat  all  the  kissing  scenes  that  usually  mark 
the  end  of  a  picture. 

As  to  why  he  is  rated  as  the  most  consistent 
male  attraction,  I  can  only  think  there  must 
be  a  considerable  number  of  people  who  really 
can  enjoy  the  performance  of  a  thorough, 
genuine  man,  who,  "If  his  face  is  any  guide  to 
his  character,"  is  a  perfect  gentleman  in  every 
sense  of  the  word.  I  guess  his  salary  and 
popularity  are  just  tribute  to  his  hard,  untir- 
ing and  conscientious  work  and  his  earnest 
endeavor  always  to  give  us  of  his  best,  what- 
ever the  story. 

As  to  why  he  has  progressed :  I  should  say 
it  was  because  he  has  always  made  the  mo^t 
of  whatever  he  had  been  doing,  always  looked 
to  the  future,  doing  his  best  for  employers  and 
public  and  living  a  life  that  many  of  his  pro- 
fession might  take  a  lesson  from  with  great 
advantage  to  themselves, 


B.  Dunbar. 


Why  Good  Dancers 
Are  Popular  -Jr 


Good  dancers  are  invited  to  every  social 
affair  because  dancing  is  the  most  popular 
form  of  recreation,  and  those  who  can  dance 
all  the  newest  dances  and  latest  steps  are 
always  welcome. 

Arthur  Murray  has  perfected  a  method 
through  which  you  can  learn  to  dance,  in 
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22 


Photoplay  Magazine — Advertising  Section 


( 


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Instruments 


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FRIENDLY 
ADVICE 


From 

Carolyn  ^Van  Wyck 


"Y\  THAT  color  suits  me?"    It  is  a  question 

W  that  I  read  in  many  a  letter.  "What 
style  of  dress  should  I  wear?  "  is  the  question 
that  usually  follows  directly  after  it. 

As  a  general  thing  these  two  questions  may 
be  answered  in  groups.  Dark  girls  may  wear 
the  warmer  colors — blondes  can  afford  to  affect 
the  tints  that  hold  the  magic  of  moonlight  and 
spring  blossoms.  Girls  with  the  vivid  red  of 
health  in  their  cheeks  may  dare  any  drab  shade 
— and  look  charming.  But  women  with  muddy 
complexions  must  beware  of  the  colors  that  are 
blended  with  yellow  and  green. 

As  to  the  style  of  dress.  A  tall  girl,  who 
wants  to  look  less  tall,  may  attain  her  desire 
by  the  judicious  use  of  ruffled  skirts  and  two- 
piece  suits.  A  stout  girl,  on  the  other  hand, 
must  avoid  frills — and  rigidly  follow  the 
straight  line.  A  woman  who  is  inclined  to  be 
plump  will  look  slender,  almost,  in  a  long,  skill- 
fully draped  skirt.  And  a  tall  woman  can  afford 
to  wear  her  skirt  as  short  as  even  Paris  dic- 
tates, if  she  is  slim  and  has  pretty  ankles! 

Any  feminine  person,  with  good  taste,  can 
judge  which  colors  best  suit  her.  By  holding 
scraps  of  the  color,  of  which  she  is  in  doubt, 
close  to  her  face  as  she  stands  in  front  of  her 
mirror.  Many  women  make  the  mistake  of 
wearing  a  color  because  it  is  fashionable — with 
never  a  thought  to  its  becomingness.  This 
should  never  be  done — charm  should  never  be 
sacrificed  to  style.  If  a  current  mode  is  not 
suited  to  a  type — another  style,  picturesque 
enough  to  fit  into  any  phase  of  fashion,  should 
be  adopted.     And  so  on. 

Of  course  many  such  questions  cannot  be 
answered  in  a  group  way.  Some  women  com- 
bine the  dark  and  fair  colorings  in  an  unusual 
manner.  And  some  figures  are  quite  contrary 
to  the  usual  rule  that  governs  the  slim  woman 
and  her  stouter  sister.  In  the  case  of  these 
special  rules  must  be  given — and  a  whole  new 
system  of  color  must  be  worked  out. 

M.  K.,  Fort  Worth,  Texas. 

With  dark  brown  eyes  and  dark  brown  hair 
that  boasts  a  reddish  tint,  you  should  use 
powder  in  the  shade  naturelle,  ashes  of  rose 
rouge,  and  a  dark  lip  stick.  You  will  look  your 
best  in  all  shades  of  brown,  in  black,  midnight 
blue,  lanvin,  Nile  or  jade  green,  violet,  gold, 
periwinkle  and  any  of  the  pastel  tints.  Your 
weight  is  just  about  right,  and  I  think,  as  you 
are  quite  small,  you  should  wear  simple, 
straight-line  frocks,  with  the  modishly  long 
skirts. 


Rosemary  G.,  Salt  Lake  City,  Utah. 

The  blackheads  will  respond,  in  time,  to 
treatment.  Perhaps  an  occasional  application 
of  a  good  complexion  clay,  followed  by  an 
astringent  cream,  might  help.  If  the  soap  that 
you  are  using  is  satisfactory,  I  should  most 
certainly  advise  that  you  keep  on  with  it. 

A  new  evening  dress — and  you  already  have  a 
white  flowered  georgette,  and  a  pink  silk  one 
Let  me  see,  you  have  brown  hair,  a  fair  com- 
plexion and  blue-green  eyes.  Why  not  a 
taffeta  frock  in  green  and  silver,  to  be  worn 
with  silver  slippers?  Green  is  one  of  the 
winter's  smartest  colors,  and  I  am  sure  that  it 
would  be  very  becoming  to  you.  Made  with  a 
fairly  full  skirt,  and  a  basque,  sleeveless  waist. 

Any  of  the  face  creams  advertised  in  this 
magazine  are  reliable.  If  the  one  you  are 
using  does  not  suit  your  particular  type  of  skin 
I  should  most  certainly  advise  a  change,  how- 
ever. If  I  could  write  you  a  personal  letter, 
and  knew  a  trifle  more  about  your  complexion,  I 
could  give  you  more  detailed  help  in  th  ematter. 

"Deke,"  White  Plains,  N.  Y. 

If  you  are  trying  to  reduce,  and  are  over- 
weight, you  should  wear  dark  shades  rather 
than  the  light  or  vivid  colors.  But,  because 
your  complexion  is  muddy,  you  must  be  careful 
of  the  shades  you  choose.  You  should  never 
wear  taupe,  tans,  olive  drab  or  the  fashionable 
plum  color.  Black,  dark  brown,  midnight  blue 
and  tweed  mixtures  will  be  much  more  becom- 
ing. Sweaters  and  skirts  will  make  you  seem 
heavier — in  fact,  any  two-piece  dress  will.  Flat 
heel  shoes  also  make  a  woman  appear  more 
stout.  One-piece  dresses  with  long  skirts  and 
straight,  simple  lines  will  suit  you  far  better. 

Tessie  P.,  New  York  City. 

You  should  weigh  between  one  hundred  and 
forty  and  one  hundred  and  forty-five  pounds, 
for  you  are  quite  tall.  I  cannot  tell  you 
whether  or  not  you  are  overweight,  for  you 
have  neglected  to  tell  your  present  weight. 

If  you  desire  more  slender  ankles  there  are 
only  two  good  ways  th"t  I  know  of  by  which 
they  may  be  acquired— by  exercise  and  the 
wearing  of  rubber  reducing  stockings.  The 
stockings  may  be  purchased  in  a  first-class 
drug  store — Dr.  Jeanne  Walker's  are  sure  to  I  e 
good.  The  exercise  that  I  recommend  is  a 
simple  one — simply  standing  straight,  in  gym 
shoes  or  the  stockinged  feet,  and  rising  to  the 
tip  toes.  Do  this  twenty-five  times,  night  r.nd 
morning.  [  continued  on  page  24  ] 


Let  Carolyn  Van  Wyck  be  your  confidante 
She  will  also  be  your  friend 

S^AROLYN  VAN  WYCK  is  a  society  matron,  well  known  in  New  York's  smartest 
L/  and  most  exclusive  inner  circle.  She  is  still  young  enough  fully  to  appreciate  the 
problems  of  the  girl — she  is  experienced  enough  to  give  sound  advice  to  those  in  need  of 
it;  be  they  flappers,  business  women,  or  wives  and  mothers.  She  invites  your  confidences 
— she  will  respect  them — on  any  subject.  Clothes,  charm  and  beauty,  love,  marriage, 
the  dreams  and  hopes  that  come  to  every  one,  the  heartbreaks  and  the  victories — who  has 
not  wished  to  talk  them  over  with  some  woman  who  would  be  tolerant  and  just,  sympa- 
thetic and  Ulled  with  human  understanding?     Here  is  the  opportunity  to  do  so. 

—  The  Editor 


Eiery  advertisement  in   I'HOTOrLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


Studio  Directory 

For  the  convenience  of  our  readers 
who  may  desire  the  addresses  of  film 
companies  we  give  the  principal  active 
ones  below.  The  first  is  the  business 
office;  (s)  indicates  a  studio;  in  some 
cases  both  are  at  one  address. 

ASSOCIATED  FIRST  NATIONAL  PICTURES, 
383  Madison  Avenue,  New  York  City. 

Richard  Bart  holiness  Productions,  Inspiration 

Pictures,  565  Fifth  Avenue,  New  York  City. 

Edwin  Carev.e  Productions,  Associated  First 

Nat'l  Pictures.  619  Pacific  Finance  Bldg., 

Los  Angeles,  Calif. 

Thomas  H.   Ince  Productions,  Ince  Studios, 

Culver  City,  Calif. 
John   M.   Stalil  Productions,  Mayer  Studio, 

3800  Mission  Road.  Los  Angeles.  Calif. 
Norma  and  Constance  Talmadge  Productions. 

United  Studios,  Hollywood,  Calif. 
Maurice  Tourneur  Productions,  United 

Studios.  Hollywood,  Calif. 
Laurence  Trimhlc-Jane  Murfln  Productions, 
Associated  First  Nat'l  Pictures,   6   West 
48th  Street.  New  York  City. 
Louis  Mayer  Productions,  3S00  Mission  Road, 

Los  Angeles,  Calif. 
Richard   Walton   Tully   Productions.   United 
Studios,  Hollywood,  Calif. 
EDUCATIONAL    FILMS    CORPORATION,    370 
Scventn  Avenue.  New  York  City. 

Christie  Comedies,   Christie  Film  Co.,   Inc., 

Sunset  at  Cower  St.,  Los  Angeles,  Calif. 
Hamilton  Comedies,  Lloyd  Hamilton  Corp., 
5341  Melrose  Avenue,  Hollywood,  Calif. 
.    Mermaid  Comedies,  Jack  White  Corp.,  5341 
Melrose  Avenue,  Hollywood,  Calif. 
FAMOUS     PLAYERS-LASKY     CORPORATION 
(PARAMOUNT),  485  Fifth  Avenue.  New  York 
City. 

(s)   Paramount.   Pierce   Ave.   and   Sixth    St., 

Long  Island  City,  N.  Y. 
(s)   Lasky.  Hollywood,  Calif. 
British  Paramount,   (s)   Poole  St..  Islington, 

N.  London,  England. 
Wm.    S.    Hart   Productions,    (s)    1215   Bates 
Street,  Hollywood,  Calif. 
FOX  FILM  CORPORATION,   (s)   10th  Ave.  and 
5.5th  St.,  New  York  City,   (s)    1401   N.  Western 
Ave,  Los  Angeles,  Calif,     (s)  Rome,  Italy. 
GOLDWYN    PICTURES    CORPORATION,    469 
Fifth  Avenue,  New  York  City;  (s)  Culver  City, 
Calif.     Marshall    Neilan,    King    Vidor    Produc- 
tions and  Hugo  Ballin  Productions. 

International  Films,  Inc.  (Cosmopolitan  Pro- 
ductions), 729  Seventh  Avenue,  New  York 
City;   (s)   Second  Avenue  and   127th  St., 
New  York  City. 
W.  W.  HODKINSON  CORPORATION,  469  Fifth 

Avenue,  New  York  City. 
MASTODON  FILMS.  INC..  C.  C.  Burr,  135  West 
44th  Street,  New  York  City;  (s)  Glendale,  Long 
Island. 

METRO  PICTURES  CORPORATION,  1540 
Broadway,  New  York  City;  (s)  Romainc  and 
Cahuenga  Avenue,  Hollywood,  Calif. 

Tiffany    Productions,    1540    Broadway,    New 

York  City. 
Buster  Keaton  Productions.  Keaton  Studio, 

1205  Lillian  Way,  Hollywood,  Calif. 
Jackie  Coogan,   United  Studios,  Hollywood, 

Calif. 
Allen  Holuhar  Productions,  1540  Broadway. 
New  York  City. 

PALMER  PHOTOPLAY  CORPORATION,  Palmer 

Bldg.,    Hollywood,    Calif.,    Producing    at    Thos. 

II.  Ince  Studios,  Culver  City,  Calif. 

PATIIE  EXCHANGE.  Pathe  Bldg..  35  West  45th 

Street,  New  York  City;  (Associated  Exhibitors). 

Charles     Ray     Productions,     1428     Fleming 

Street,  Los  Angeles,  Calif. 
Hal   E.    Roach   Studios,    Inc.,   Culver   City, 

Calif.  , 

Ruth  Roland  Serials.  United  Studios,  Holly- 
wood. Calif. 
Mack    Sennett    Comedy    Productions,     Los 
Angeles,  Calif. 

PREFERRED  PICTURES,  1650  Broadway,  New 
York  City;  (s)  Mayer-Schulberg  Studio.  3800 
Mission  Road,  Los  Angeles,  Calif.  Tom  Forman, 
Victor  Schertzinger  and  Louis  J.  Gasnier  Pro- 
ductions. 

PRINCIPAL  PICTURES  CORPORATION,  1540 
Broadway,  New  York  City;  (s)  7200  Santa 
Monica  Blvd.,  Los  Angeles,  Calif. 

R-C  PICTURES  CORPORATION.  723  Seventh 
Avenue,  New  York  City;  (s)  Corner  Cower  and 
Melrose  Streets,  Hollywood,  Calif. 

ROTHACKER  FILM  MFG.  COMPANY  1339 
Diversey  Parkway,  Chicago,  Illinois:  Rothacker- 
Aller  Laboratories,  Inc.,  Hollywood,  Calif. 

UNITED  ARTISTS  CORPORATION,  729  Seventh 
Avenue,  New  York  City. 

George  Arliss  Productions.  Distinctive  Prod., 

366  Madison  Avenue,  New  York  City 
Rex  Beach  Productions,  LTnited  Artists  Corp 

729  Seventh  Avenue,  New  York  City. 
Charlie  Chaplin  Studios,   1416  LaBrea  Ave 

Hollywood,  Calif. 
D.     W.     Griffith     Studios,     Orienta     Point 

Mamaroneck,  N.  Y. 
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tered mirror  made  from  the  finetit  plate  glass  ie  permanently 
fixed  to  the  inside  of  the  coyer.     The  handsome  Toilette 
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Friendly  Advice 


[  continued  from  page  22  ] 
"Tess,"  Baltimore,  Md. 

No,  I  would  not  call  you  thin,  but  I  might 
term  you  "slim."  One  hundred  and  eight 
pounds  is  indeed  a  small  weight — but  you  are  a 
small  girl. 

With  dark  brown  hair  and  eyes,  and  a  fair 
complexion,  I  should  suggest  the  same  com- 
bination in  rouge,  lipstick  and  powder  that  I 
have  suggested  to  M.  K.,  of  Forth  Worth, 
Texas.  _  Powder  in  the  naturelle  shade  (unless 
your  skin  is  very  pink  and  white — in  that  case 
use  flesh),  ashes  of  rose  rouge  and  a  dark  lip- 
stick. 

A  dark  lipstick  is  almost  always  more 
satisfactory  than  a  light  one — unless  the  user 
is  a  decided  blond. 

You  will  look  well  in  the  pastel  tints,  in 
browns,  greens  and  in  dark  or  French  blue. 
Orchid,  rose,  red,  flame  and  tangerine  will  also 
be  becoming.  And  the  tweeds,  so  popular  just 
now  for  sports,  will  be  charming  with  your  eyes 
and  hair. 

B.  K.,  Dubuque,  Iowa. 

If  you  have  pimples,  occasionally,  they  may 
come  from  some  internal  disorder.  Do  you 
keep  your  system  unclogged  and  healthy? 
Many  facial  disorders  come  from  inside,  and 
cannot  be  treated  in  the  usual  manner.  You 
are  right  in  not  eating  too  much  meat.  I 
should  suggest  that  you  do  not  eat  many  fried 
foods,  and  that  you  have  plenty  of  green 
vegetables  and  fruit.  Also  the  coarser  breads 
and  cereals.  Lettuce,  spinach,  greens,  beet 
tops,  celery  and  uncooked  cabbage,  grape  fruit, 
oranges,  apples  and  other  fruits  when  in 
season,  as  well  as  stewed  prunes,  figs  and 
apricots. 

And  bran  breads  and  cereals. 

The  enlarged  pores  may  be  treated  differ- 
ently— from  the  outside.  A  good  facial  soap, 
used  regularly,  occasional  applications  of  com- 
plexion clay  and  an  astringent  cream  will  work 
miracles. 

Liane  or  Dallas,  Texas. 

I  do  not  think  that  your  nose  is  ugly — in  fact 
I  think  that  it  shows  more  character  than 
many  of  the  more  perfect  features.  In  fact,  in 
your  small  photographs,  I  see  a  resemblance  to 
the  lovely  Pola  Negri — a  slight  resemblance, 
but  one  that  is  worth  cultivating.  Has  anyone 
ever  mentioned  this  before? 

Of  course  there  are  operations  that  may  be 
successfully  performed  upon  the  nose.  And 
there  are  appliances  that  may  be  worn — and 
which  we  recommend  by  our  advertising.  But 
I  would,  personally,  think  twice  before  under- 
going an  operation  upon  a  feature  that  is 
nearly  satisfactory. 

If  your  mind  is  made  up,  I  should  suggest 
that  you  consult  a  physician — your  family 
physician,  if  you  have  one — in  regard  to 
price  and  other  details. 

M.  C,  Rocky  River,  Ohio. 

Your  type  is  not  unusual,  but  it  is  charming. 
Tall  and  slim,  with  light  brown  hair  and  dark 
brown  eyes.  I  have  no  doubt  that  you  are 
every  bit  as  attractive  as  your  older  sisters — it 
is  probably  your  pride  in  them,  and  your  lack 
of  pride  in  yourself,  that  makes  you  feel 
different. 

The  little  dress  that  you  have  sketched  on  a 
page  of  your  letter  is  both  pretty  and  pictur- 
esque— the  most  important  points  in  a  dress, 
according  to  the  lovely  Alice  Terry.  I  think 
that  the  style,  with  its  tight  waist  and  wide 
lace  collar,  will  be  most  becoming.  Made  in 
deep,  rich  brown  crepe  satin,  the  favored  fabric 
and  color  of  the  winter,  with  ecru  lace  collar 
and  cuffs,  and  with  a  tiny  knot  of  hand-made 
ribbon  flowers,  in  shades  ranging  from  yellow 
to  orange  and  gold,  at  the  waist — it  will  be 
adorable.  And  you  will  be  sweet  in  it!  Brown 
satin  slippers  (or  kid  and  suede  ones)  and  « 
brown  chiffon  hose  will  add  to  the  tout 
ensemble. 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  ia  guaranteed. 


Photoplay  Magazine — Advertising  Section 


Zoe,  Omaha,  Neb. 

An  oily  scalp  is  certainly  a  trial,  and  should 
be  treated  carefully  as  it  affects  the  beauty  and 
the  strength  of  the  hair.  If  your  scalp  will  not 
respond  to  a  tonic  for  oily  hair — and  there  are 
a  number  of  good  ones — I  think  that  you  had 
better  get  the  advice  of  an  expert  in  hair 
culture.  If  I  had  your  name  and  address  I 
would  indeed  be  very  glad  to  send  you  the 
names  and  addresses  of  some  specialists  that  I 
can  safely  recommend. 

Bunny  C,  Cambridge,  Mass. 

The  freckles  probably  will  not  bother  you 
when  the  winter  comes.  But,  with  the  ap- 
proach of  spring,  I  think  that  you  should  use 
the  best  freckle  cream  obtainable.  Photoplay 
Magazine  mentions,  in  its  advertising  col- 
umns, some  of  the  best  of  the  many  freckle 
treatments.  Stillman's  freckle  cream,  which 
you  ask  about,  is  very  reliable. 

A  milk  diet,  baths  that  are  not  too  warm  or 
too  enervating,  and  no  late  hours — they  repre- 
sent the  easiest  way  to  gain  weight.  Several 
quarts  of  milk  and  one-half  pint  of  cream  daily, 
will  work  wonders.  With  short  black  hair,  and 
black  eyes,  you  will  look  your  best  in  the 
warmer  colors — reds,  browns,  henna-rose,  pink, 
yellow,  gold  and  flame.  But  dark  blue  will 
also  look  well  on  you,  and  so  will  grey.  Vivid 
dresses,  made  with  full,  not-too-short  skirts, 
and  large  hats,  will  suit  you.  The  hats  in 
shades  of  color  that  are  lighter  than  the  frocks 
you  wear  them  with.  A  tan  hat,  for  instance, 
with  a  brown  dress;  a  grey  hat  with  a  dark  blue 
one.  And  so  on.  A  dark  hat,  against  your 
black  hair,  does  not  make  enough  of  a  contrast. 
Never  wear  very  small  hats  or  turbans.  A 
small  hat  will  make  your  face  seem  even 
thinner  than  it  is. 

D.  Le  Rocque,  New  York  City. 

If  the  collar  bone,  over  both  of  your 
shoulders,  is  prominent,  it  is  probably  due  to 
the  fact  that  you  are  too  thin.  The  bone 
formation,  I  have  no  doubt,  is  all  that  it  should 
be.  Many  young  girls  and  women  have 
prominent  neck  and  collar  bones,  and  the 
prominence  is  greatly  lessened  by  massage — 
electric  is  best — and  the  regular  application  of 
a  tissue-building  cream. 

You  should  be  proud  to  have  some — even  a 
tint  bit — of  the  blood  of  the  American  Indian 
in  your  veins.  The  race  is  no  longer  supreme 
but  it  is  still  great  in  legend  and  tradition. 
Many  of  our  best  families  are  glad  that  they 
can  trace  their  lineage  back  to  the  ones  who 
first  owned  this  splendid  country  of  ours. 

Ventda,  Little  Rock,  Ark. 

I  think  that,  if  you  are  not  happy  with  your 
husband,  you  should  have  a  real  out-and-out 
talk  with  him.  That  you  should  try,  between 
you,  to  arrive  at  some  conclusion.  I  think — if 
I  may  speak  frankly — that  you  have  been  a 
very  silly  and  a  very  selfish  little  girl.  In  the 
first  place,  you  should  not  have  married  if  you 
felt  that  you  were  not  ready  to  sacrifice 
certain  good  times.  If  you  were  not  ready  for 
the  dear  responsibilities  of  being  a  wife,  you 
were  being  unkind  to  the  man  who  loved  you 
in  taking  them  on. 

As  I  understand  your  letter,  you  want  to  go 
back  to  the  gayety  and  the  parties — to  the 
admiration  of  several  boys.  Sacrificing  the 
love  of  a  husband  and  a  little  home  of  your  own 
for  these  things.  Are  you  sure,  my  dear,  deep 
down  in  your  soul,  that  you  really  would  give 
up  your  husband — if  the  test  came?  Are  you 
sure  that  you  are  not  making  difficulties? 

I  have  always  felt  that  it  is  wrong  to  live 
with  a  man  one  does  not  love.  But  I  cannot 
help  thinking  that  you  do  love  your  husband! 
Maybe  you  are  nervous — tired  and  over- 
wrought— with  the  new  cares  and  responsi- 
bilities. Why  not  go  away  on  a  little  vacation 
by  yourself.  To  visit  your  people,  perhaps,  or 
some  close  friend?  I  am  sure  that  you  will 
want  to  go  home — to  your  own  home,  and  your 
own  husband — when  the  vacation  is  over. 

At  any  rate,  it  is  only  fair  that  you  talk 
matters  over  with  the  man  who  loves  you. 


25 


the  ENEMY  that  is  shortening  Your  Life 


KJSra 


FREE 

Personal  Mall  Con- 
sulting Service  by 
Dr.Graham's  Staff 

Any  person  taking 
Neutroids  may  feel 
free  to  call  at  the 
Sanitarium  or  write 
toDr.  Graham  con- 
fidentially. Your  let- 
ter will  receive  the 
personal  attention 
of  either  Dr.  Gra- 
ham himself  or  a 
ntafr  physician. 


By  Neutroids  -Dr,  Graham's  Famoum  Prescription 

Superfluous  fat  over-burdens  the  heart  and  affects  the  lungs,  kid- 
neys, stomach  and  all  other  organs.  Stout  men  and  women  are 
the  easiest  victims  of  pneumonia.  Trivial  maladies,  such  as  pto- 
maine poisoning  or  bronchial  infections,  bring  sudden  and  unex- 
rpected  death  to  stout  people  where  such  a  thing  is  unheard  of  when 
slender  people  are  similarly  affected.  Realizing  that  obesity  is  a 
serious  factor  in  shortening  human  life,  Dr.  R.  Lincoln  Graham, 
famous  stomach  specialist  of  New  York,  has  devoted  his  life  to  find- 
ing a  method  for  reducing  obesity  naturally  without  injury  to  the 
health  of  the  patient  in  any  way.  Finally.after 
countless  experiments  in  the  laboratories  of 
Europe  and  America,  he  developed  and  per- 
fected his  prescription  known  asNEUTROIDS. 
No  Creams —No  Baths— No  Diet — No  Exercise 

The  fat  in  your  body  is  caused  by  a  simple  chemical 
process.  Yeast  cells  in  the  stomach  combine  with  the 
starch  and  sugar  of  your  food,  causing  fatty  tissues 
instead  of  healthy  lean  muscle.  Neutroids  counter-act 
the  action  of  these  yeast  cells  and  immediately  over- 
come the  formation  of  fat  at  its  very  source.  Neutroids 
then  aid  nature  in  dissolving  fatty  tissue  accumulated 
over  a  long  period.  Dr.  Graham  has  prescribed  Neu- 
troids for  thousands  of  people  suffering  from  over- 
weight who  have  visited  his  sanitarium.  He  personally 
guarantees  that  his  prescription  will  give  satisfactory 
results  and  that  it  contains  no  thyroid  extract  or  habit 
forming  drugs  and  can  be  taken  with  safety  by  all. 

SEND  COUPON  ONLY-NO  MONEY 

Merely  fill  in  and  send  this  convenient  coupon 
now.  When  the  little  packet  of  Neutroids  ar- 
rives deposit  purchase  price  with  Postman. 
This  will  be  refunded  if  you  are  not  satisfied. 


WHAT  USERS  OF 

NEUTROIDS  HAVE  TO  SAY 

Had  tried  everything 

"I  have  tried  everything  on 
the  face  of  the  earth  to  re- 
duce and  nothing  has  done  me 
any  good  but  Dr  Graham's 
Neutroids."  —  Constance  E. 
Harris,  Brooklyn,  N.  Y. 
Lost  S  pounds  in  one  week 

"In  the  first  week*B  treat- 
ment of  Neutroids  I  lost  five 
pounds,  lost  my  craving  for 
food,  feel  lighter  and  more 
active."— Mrs.  MadelineGun- 
ther,  New  York  City. 
Lost  16  pounds  in  2  weeks 

"I  lost  sixteen  pounds  on 
the  first  two  weeks'  treat- 
ment and  feel  fine.  I  want 
to  lose  twenty-four  pounds 
more."  —  L.  G.  Miller,  Ther- 
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"^ 


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Every  advertisement  In  PHOTOPLAY  MAGAZINE  is  guaranteed. 


New 
Pictures 


FT  IS  whispered  that  Charles  Ray  has  almost  de- 
A  cided  to  desert  the  screen — that  he  is  planning 
to  go  on  the  stage  in  "The  Girl  I  Loved."  Well, 
it  should  make  a  fine  play!  But  we  can't  help  ho- 
ping t  hat  his  success  as  Joh  n  A  hi  en,  in  "The  ( Courtship 
(jf  Miles  Standish"  will  make  him  change  his  mind 


Ball 


TVAGMAR  GODOWSKY.  In  other  words,  Mrs.  Frank  Mayo.  By  her  em- 
■L'  broidered  satin  mandarin  coat,  and  her  lightly  fingered  Chinese  lute,  and  her 
far-off  expression,  shall  ye  know  that  she  is  musing  over  a  love  song  of  the  orient 


Volume  XXV 


The  J^ational  Quide  to  ^Motion  Pictures 


Number  One 


[TRADE   MARK] 


PHOTOPLAY 


December,  1923 


Speaking  of  Pictures 


By  James  R.  Quirk 


A  CHRONIC  title  reader  in  Nashville,  Term.,  was  mur- 
dered by  a  woman  who  happened  to  sit  in  front  of  her 
in  a  motion  picture  theater.  Her  objection  being  answered 
only  by  the  continued  loud  reading  of  the  offender,  the  im- 
patient one  in  front  reached  around,  and  swung  a  razor  deftly 
across  her  enemy's  jugular  vein.  On  the  way  to  the  hospital, 
where  she  died  within  an  hour  after  the  argument,  the  unfor- 
tunate murmured  to  the  ambulance  surgeon,  "Well,  that  cer- 
tainly will  be  a  lesson  to  me." 

CECIL  B.  DeMILLE  has  carved  for  himself  out  of  lights  and 
shadows  a  monument  far  more  enduring  than  granite  or 
marble.  "The  Ten  Commandments,"  which  will  be  released 
soon,  is  appalling  in  its  scope  and  a  tremendous  human  achieve- 
ment in  its  execution.  Every  theater  in  which  it  appears  will  be 
a  temple  and  every  screen  a  pulpit,  not  pouring  a  message  of 
words  into  heedless  ears,  but  burning  with  white  light  into  the 
very  souls  of  men  and  women  and  children  the  great  lessons  of 
God's  infinite  love,  of  the  brotherhood  of  man,  of  peace  on  earth 
among  men,  and  the  futility  of  strife  and  hate.  Wouldn't  it  be 
strange  if,  despised  and  censored  and  reviled  for  years,  the 
motion  picture  should  come  to  be  recognized  as  the  greatest 
interpreter  of  the  Mosaic  Law  since  the  ancient  prophet 
revealed  the  Tablets  of  Stone  to  the  children  of  Israel? 

MR.  CHAPLIN'S  serious  effort  at  direction,  "A  Woman  of 
Paris,"  met  with  universal  acclaim  on  the  part  of  the 
critics  because  of  its  qualities  of  simplicity  and  treatment,  and 
deservedly  so.  Yet  to  my  mind  it  does  not  surpass  some  of  the 
handling  of  his  own  comedies.  There  is  no  standardized  efforts 
at  what  is  called  "registering"  emotions.  His  actors  behave 
like  normal  humans.  They  do  not  make  exaggerated  grimaces 
to  depict  their  feelings.  One  of  the  common  faults  of  the  novice 
in  writing  is  to  underline  words  to  emphasize  them  and  to 
smear  on  adjectives  in  a  desperate  effort  to  convey  meaning. 
It  is  also  a  common  mistake  of  most  of  our  screen  directors. 
Chaplin  taught  them  a  lesson.  The  story  is  nothing  extraordi- 
nary. The  direction  was  superb.  We  doubt  that  the  picture 
will  achieve  great  popularity  because  of  the  theme,  but  the 
screen  owes  a  new  debt  of  gratitude  to  Mr.  Chaplin. 

NORMA  TALMADGE  fell  down  in  a  scene  so  badly  the 
other  day  that  she  cost  her  company  six  thousand  dollars. 
She  acted  all  right  but  she  couldn't  blow  soap  bubbles  required 
by  the  scenario  writer  in  "Dust  of  Desire."  It  looked  as 
though  Norma's  childhood  education  had  been  neglected  until 
everyone  else  on  the  set  tried  the  bubble  pipe  and  failed.  In 
fact  the  entire  expensive  cast  spent  the  entire  expensive  morn- 
ing blowing  bubbles  while  Joseph  Schenck.  the  producer,  calmly 
watched  his  money  roll  away.  Finally  some  one  brought  for- 
ward the  right  kind  of  suds  and  pipe  and  Norma  bubbled 


beautifully.  Anyhow  it  gave  Harry  Brand,  the  press  agent, 
a  chance  to  use  his  figurative  imagination.  Harry  says  the 
bubbles  that  appear  in  the  picture  cost  one  thousand  dollars 
apiece,  the  most  expensive  bubbles  ever  used  in  any  screen 
production! 

MARSHALL  NEILAN,  I  have  a  bone  to  pick  with  you. 
Knowing  you  well,  appreciating  your  wonderful  brain, 
your  inherent  artistry,  your  resourcefulness,  your  intimate 
knowledge  of  everything  connected  with  the  making  of  motion 
pictures,  I  am  disappointed  in  your  latest  picture,  "The  Eternal 
Three."  Why  must  you  let  your  sense  of  humor  eject  itself 
at  the  most  inopportune  times  and  spoil  an  otherwise  delightful 
piece  of  work?  You  are  selling  emotions  and  if  those  emotions 
have  any  value  why  did  you  poke  a  cheap  snicker  into  some  of 
the  fine  emotional  episodes  in  that  picture?  With  Mary  Pick- 
ford,  you  made  "Stella  Maris,"  a  great  screen  classic.  No  direc- 
tor of  motion  pictures  has  more  God-given  ability  than  you 
have.  There  is  not  a  more  lovable  human  being  in  all  picture- 
dom.  Yet  I  take  a  chance  on  forfeiting  your  highly  prized 
friendship  by  telling  you  that  you  are  permitting  that  sense  of 
humor  of  yours  to  become  a  positive  nuisance. 

Mary  Pickford,  too,  has  a  sense  of  humor  but  she  does  not 
permit  it  to  make  faces  from  behind  her  pictures  as  you  do. 
You  and  she  are  one  of  the  greatest  combinations  it  is  possible 
to  find,  and  I  am  sure  that  you  are  going  to  help  her  make  a 
splendid  thing  out  of  "Dorothy  Vernon  of  Haddon  Hall." 

There,  Mickey,  that's  off  my  mind. 

MARY  and  Doug  keep  in  training  like  a  couple  of  athletes. 
They  go  to  bed  at  nine-thirty  and  arise  at  six  for  a  horse- 
back ride  or  a  hike  around  their  Beverly  Hills  estate.  Every 
morning  Doug  weighs  in  on  the  scales,  and  keeps  to  the  strictest 
diet.  Nothing  can  divert  Doug  when  the  hour  of  bedtime  ar- 
rives. One  evening  while  entertaining  a  number  of  guests, 
including  Mr.  and  Mrs.  Ernst  Lubitsch,  Doug  arose  at  nine- 
thirty,  and,  excusing  himself,  announced  he  was  going  to  bed. 
A  few  evenings  later  the  Lubitsches  were  guests  at  a  party  given 
by  the  Charles  Rays.  About  nine-thirty,  Charles  disappeared 
from  the  drawing  room  to  show  some  guests  around  the  gar- 
'dens.  Noting  his  absence,  Mrs.  Lubitsch  asked  naively,  "Has 
Mr.  Ray  gone  to  bed?" 

Truly  Hollywood  is  getting  a  terrible  reputation. 

MARY  PICKFORD  in  the  next  issue  of  Photoplay  says 
that  the  star  who  is  to  survive  and  to  thrive  must  assume 
responsibility  for  the  quality  of  his  pictures.  Mary's  assertion 
is  backed  up  by  facts.  The  most  successful  and  thriving  stars 
of  today  are  those  who  have  been  able  to  set  high  standards 
and  keep  to  them.  Unfortunately,  the  finest  artists  are  not 
always  endowed  with  the  business        [  continued  on  page  133  1 

35 


The  lure  of  love,  the  hint  of  lost  romances, 
The  perfume  of  pale  lotus  through  the  dark, 

The  mystery  of  slumberous,  veiled  glances, 
The  freedom  of  an  uncaged  meadow  lark — 
36 


The  murmur  of  a  leashed  emotion,  sighing, 
A  wistful  song,  dim  centuries  away; 

The  call  to  chivalry,  a  call  undying — 

An  altar  flame  where  hungry  souls  must  pray! 


WHY  METi 
GO  CRAZT  ABOUT 

^-^  OoRINNE 

Cjriffith 

By  Adela  Rogers  St.  Johns 


ONE  day  Corinne  Griffith  came  to  Hollywood. 
Three  weeks  later  every  man  in  the  place  was  in 
love  with  her.     Quite  a  number  of  world-famous 
heartbreakers  have  settled  down  in  our  midst,  one 
time  and  another.  But  that  has  never,  never  happened  before. 
Now  that  all  the  world  knows  Corinne  is  separated  from 
her  husband,  there  can  be  no  harm  in  telling — that,  in  that 
time,  she  had  almost  broken  up  one  of  our  most  famous  love 
affairs;  that  a  young  man  whose  engagement  to  a  great 
beauty  and  star  was  practically  conceded  was  openly  at  her 
feet;  that  a  famous  director  and  a  well-known  star  had  come 
to  blows  over  a  dance  with  her;  that  one  of  the  greatest 
editors  in  the  country  had  publicly  insulted  the  president  of 
a  big  film  corpora- 
tion by  juggling 
the  place  cards  at 
a  luncheon  so  that 
he  might  sit  next 
to  Corinne  instead 
of  in  the  place  of 
honor  next  to  the 
president;  that 
practically     every 
film  magnate  was 
battling     for     her 
services  on  the 
silversheet;  and 
that  an  electrician 
had  become  so 
enamoured  of  her 
charms  that  he 
dropped  a  large 
light   from   the 
wings  upon  the 
head  of  an  unsus- 
pecting scenario 
writer. 

I  knew  that. 
Still,  the  fact  re- 
mains that  many 
a  vamp  on  the 
screen  is  a  com- 
plete flop  as  a 
temptress  in 
private  life,  and 
that  a  girl  may  be  successful  with  a  certain  coterie  and  not  win 
a  bet  in  another  circle. 

It  didn't  dawn  upon  me  what  had  actually  happened  until 
the  night  of  a  certain  big  dance.  When  I  say  that  everyone 
was  there,  you  will  know  what  I  mean.  In  view  of  what  I  am 
about  to  relate,  it  isn't  fair  to  mention  names.  There  are 
enough  divorces  in  Hollywood  already. 

My  partner  of  the  moment  was  a  young,  unmarried  star, 
who  is  causing  the  ladies  a  good  deal  of  concern.  As  soon  as 
we  were  on  the  floor,  he  said:  "I  am  perfectly  crazy  about 
Corinne  Griffith." 


"May  I  call  again?"  asks  Conway  Tearle  as  he  holds  one  of 

Corinne' s  beautiful  hands  in  a  scene  from   "Black  Oxen,"   her 

newest  picture 


Corinne  Griffith's  lovely  hands 

are  worthy  of  having  madrigals 

written  about  them 


There  was  something 
familiar  about  it.  I  had  a 
feeling  that  it  was  a  well- 
known  quotation,  like  "Yes, 
we  have  no  bananas."  Then 
I  realized  that  I  had  danced 
some  dozen  times  during  the 
evening  and  every  single  man 
had  said  exactly  that  same 
thing.  "I  am  nutty  about 
this  Corinne  Griffith." 

Now,  that  is  even  more 
startling  when  you  realize 
that  our  men  in  Hollywood 
are  a  bit  blase  about  women. 
The  place  is  literally  over- 
run with  beautiful  women 
and  pretty  girls.  Besides, 
most  of  the  men  are  pur- 
sued by  women,  for  one  rea- 
son or  another.  The  actors 
by  their  feminine  fans,  the 
directors  and  scenario  writers  by  women  who  want  to  get  in 
or  up  in  pictures.  It  isn't  what  you'd  call  a  nice,  easy,  warm 
audience  for  a  woman.  In  fact,  it's  probably  the  hardest  one 
ever  gathered  together  in  one  place. 

I  made  discreet  inquiry  and  discovered  three  other  ladies 
who  had  had  similar  confessions  made  to  them  repeatedly. 
We  all  glared  at  Corinne,  sitting  serene  and  lovely  in  a  frock 
of  coral  and  silver,  with  a  big  plumed  fan  waving  gently.  But 
when  a  hard-boiled  young  juvenile  got  me  out  in  the  corridor 
and  burst  into  tears  as  he  confided  to  me  his  hopeless  passion 
for  the  fair  Corinne,  I  said  to  myself:     [  continued  on  page  116  ] 

37 


c 


oingf  to 


appen  to 


oo 


? 

an: 


Chaplin,  Ingram,  Fairbanks  and  Mary 
Pic\ford  discuss  the  wonder  child  and 
loo\  into  his  future.  Incidentally,  Jackie's 
entire  fortune,  the  hoardings  of  five 
years,  has  been  swept  away 


By  Herbert  Howe 


JACKIE'S  busted.  The  veteran  character 
actor  of  the  screen,  once  known  as  the 
Millionaire  Kid,  totters  on  the  verge  of 
bankruptcy,  a  ruined  man. 

His  entire  fortune,  the  hoardings  of  a  hard 
career,  was  swept  away  in  a  single  hour. 

It's  the  pathetic,  world-old  story  of  a  get- 
rich-quick  guy  who  suddenly  turned  spender. 

I  heard  the  tale  from  Jackie's  own  lips. 
Unquestionably  aged,  though  bearing  up 
well,  he  gave  me  the  details  of  the  grim  dis- 
aster. 

It's  no  easy  thing  for  a  man,  after  a  life  of 
toil,  to  face  old  age  with  a  smile  on  his  face, 
determined  to  build  anew,  but  that's  what 
Jackie  does. 

"  It's  all  gone,"  said  Jackie  feebly.  "  Every 
berry." 

They  even  threaten  to  attach  his  scooter 
and  kiddie  kar,  he  says. 

But  he's  philosophical.  He  recognizes  ret- 
ribution. You  can't  be  a  Coal  Oil  Johnny 
without  paying  the  price. 

38 


IV  s  easy  to  see  what  will  happen  to  Jackie  if  he  dives  into  those  rocks.    He'll 
break  his  neck 


Motion  picture  actors  have 
the  reputation  of  being  notori- 
ous spenders,  and  Jackie's  not 
behind  anybody  in  notoriety. 

This,  in  brief,  is  the  way 
Jackie  shot  his  wad. 

"I  had  my  first  nickel  until 
a  few  days  ago,"  he  said  sol- 
emnly. "I  was  known  as 
tight.  Well,  I  guess  they  can't 
say  that  about  me  any  more." 

He  heaved  a  sigh  and  a  smile. 
"After  all,  I'm  glad  it's  gone. 
Wealth  is  a  burden." 

As  he  admits,  he  had  his  first 
nickel.  He  was  a  hard-fisted 
old  Silas  Marner.  He  used  to 
dump  his  bank  on  the  floor  and 
let  the  silver  run  through  his 
hands.  He  would  count  it  and 
recount  it,  chuckling  with  glee 
as  he  got  a  different  addition 
every  time. 

People  commenced  talking. 
They  always  do.  Particularly 
in  Hollywood.  They  said: 
"Old  Jackie  is  hoarding  his 
dough  in  a  sock  in  the  cellar. 
Didcha  ever  see  him  pay  a 
check?  Didcha  ever  see  him 
set  up  the  crowd?  I'll  say  vou 
didn't!" 

It  got  to  the  point  where  his 
own  employees,  his  own  busi- 
ness manager,  even  his  own 
father,  jeered  at  him. 

Came  the  Dempsey  -  Firpo 
fight  with  Jackie  winning  ten 
cent  s  on  his  old  friend  Dempsey. 

Well,  the  gang  framed  him. 
They  got  him  into  the  little 
restaurant  across  the  street 
from  the  Metro  studio  —  a 
crowd  of  them,  including  his 
own  father,  and  they 
commenced  to  ride 
him.  "Come  across, 
old  tightwad.  Kick 
through,"  they  said. 
"It's  time  for  you  to 
blow  yourself.  Buy  the 
lunch  or  take  the  con- 
sequences 

Forced  into  a  corner, 
but  still  fighting,  Jackie 
finally  agreed  to  flip  a 
coin   with  his  Dad   to 


Jackie  seems 
to  hare 
recovered  at 
least  some  of 
his  lost  fortune, 
Otherwise, 
whence    came 
the    ermine, 
the    jeweled 
crown  and 
sceptre  he  has 
in  "Long  Live 
The  King"? 


"My  savings  are  all  gone,"  says  Jackie  sadly.     "Every 

berry.     They  framed  me."     However,   he  still  has  his 

scooter  and  kiddie  kar 


see  who  paid.  He  lost.  His  face  blanched,  but  he  pulled 
himself  together  and  arose  to  the  occasion,  magnificent  actor 
that  he  is. 

"Boys,  it's  on  me,"  he  quavered.    "Everybody  eat!" 
He  not  only  invited  his  own  crowd  but  everyone  in  the 
restaurant — seven  people  in  all. 

Now  the  gang  knew  exactly  the  amount  of  Jackie's 
fortune.  They  knew  the  vast  sums  he  had  been  paid  for 
thinking  up  gags.  For  every  gag  he  ever  thought  up  he's 
been  paid  all  the  way  from  ten  cents  to  four  bits.  Some 
skulking  hulk  had  seen  him  counting  his  money  and  knew 
that  it  amounted  to  exactly  $46.70. 

Well,  when  the  waitress  presented  the  check  for 
the  luncheon  it  was  for  forty-seven  dollars. 
Jackie  paled. 

The  gang  laughed  derisively.     "  Go  on,  get 
your  jack.     Dig  into  the  old  sock." 

Jackie  reeled  out  of  the  restaurant,  tottered 
over  to  his  dressing  bungalow,  unearthed 
his  bank   from   its  hiding   place  and  re- 
turned. 

He  shook  out  the  money  and 
counted  it.  Counted  it  and  re- 
counted it.  But  it  would  only  come 
to  $46.70. 

His  business  manager,  Arthur 
Bernstein,  the  whitest  of  the  gang, 

[  CONTINUED  ON  PAGE  121  ] 

39 


Myrtle  Stedman  and  Her  Son 


A  ^YRTLE  STEDMAN'S  son  broke  into  the  movies  when  he  came  to 
■*■  *-Mhe  studio,  one  day,  to  call  for  his  mother.  It  just  so  happened  that 
the  director  was  looking  for  a  fat  boy  to  play  a  good-sized  part  and  the 
son,  whose  name  is  Lincoln,  was  like  a  gift  from  the  gods. 

"What  d'you  want?"  queried  said  director,  and,  in  the  next  breath, 
"are  you  after  a  job?" 

"No,"  answered  Line,  sturdily,  "I  want  my  mother,  and  I'm  still 
going  to  school!" 

The  director,  being  adamant,  took  the  child  to  Mrs.  Stedman,  who 


made  him  up,  with  her  own  pretty  hands,  for  his  first  part.  And  he's 
been  in  pictures  ever  since.  He's  appeared  with  his  mother  in  several 
productions — and  once  he  had  the  audacity  to  play  opposite  her,  in  the 
role  of  a  sweetheart! 

Myrtle  Stedman  is  slim  and  blonde  enough  to  play  a  flapper — or  even 
a  baby  vamp!  But  Lincoln  only  takes  after  his  mother  in  so  far  as 
acting  ability  is  concerned.  He  outweighs  Firpo  by  fifty  pounds,  and 
keeps  his  waist  measure  a  secret.  His  next  appearance  upon  the  groan- 
ing silver  sheet  will  be  in  "Black  Oxen,"  which  stars  Corinne  Griffith. 


An 


Barbara  LaMarrs 

New 
Wardrobe 


Photographed  for  Photoplay  by 
Russell  Ball 


Hi  , 

B 
■ ' 

This  speaks — but  in 
a  perfumed  whisper 
—  of  the  boulevard! 
A  wrap  of  accordion- 
pleated,  black  geor- 
gette with  narrow 
silk  braid  woven  in- 
to the  material.  An 
inspiration  ofRenee, 
for  the  afternoon 
promenade.  The 
collar  is  of  the  so 
smart  monkey  fur 


This  evening  gown 
is  constructed  over 
transparent  maline. 
The  ashes  of  rose 
bodice  is  covered,  but 
not  concealed,  by  a 
drapery  of  brilliant 
cobalt  blue  satin — 
and  the  narrow  sash, 
that  accentuates  the 
hip  line,  is  of  pale 
blue.  A  daring  color 
scheme,  but  a  charm- 
ing one.     By  Callot 


u 


The  Soul  of  Paris— of  Daring,  Mystery,  and  Love- 


BARBARA  LA  MARR  hurried  over  to  Rome 
to  beautify  production  of  "The  Eternal 
City."  On  the  way  back,  she  stopped  off  at  that 
eternal  city  of  the  fashion  world,  Paris.  And 
stayed  just  long  enough  to  select  some  of  the 
most  unique  and  charming  creations  of  the 
world-famous  designers.  Callot,  Renee,  and 
Frances — they  vied  with  each  other  in  earning 
for  Barbara  a  new  distinction — one  of  the  best 
dressed  women  of  the  screen.  From  traveling 
costume  to  evening  wrap  they  gowned  her — 
cleverly  fitting  her  for  every  hour  of  the  day, 
or  night.  And  the  result — even  Paris  held  its 
breath  at  the  loveliness  of  Miss  La  Marr  in  her 
new  clothes! 


A  Callot  evening  gown — black, 
sjrider-web  lace  over  a  tight- 
fitting,  flesh-colored  slip.  The 
back  is  caught  up  with  a  heavy 
drapery  of  black  silk  fringe, 
and  the  figured  turban — Bar- 
bara La  Marr  adores  a  turban! 
— is  made  gorgeous  by  two 
plumes  of  yellow  Paradise 


A  traveling  costume  that  follows 
the  Russian  influence!  The 
bandings — in  intense  red — 
stand  out,  in  relief,  against  the 
black  velvet  background.  The 
collar,  cuffs  and  border  are  of 
silver  lynx.  A  wide  black  velvet 
hat  with  two  red  pins  relieves 
any  hint  of  the  sombre 


liness— is  in  Barbara  La  Marr's  Every  Costume 


An  afternoon  tea  gown,  by  Rente.  In  silver  grey 
crepe-satin,  it  follows  a  line  of  straight  and 
almost  liquid  beauty.  The  wrap  is  heavy  purple 
satin,  and  so  is  the  turban  that  depends,  for  trim- 
ming, upon  a  jeweled  triangle.  The  scarf  is  of 
platinum  fox 


Black  soutache  braid 
traces  an  intriguing 
design  across  this 
traveling  suit  of 
heavy  silk  crepe. 
With  it  Miss  La 
Marr  wears  a  fox 
scarf,  fastened  snug- 
ly about  the  throat, 
and  a  small  black 
velvet  hat  with  a 
spray  of  glycerined 
feathers  drooping 
from  one  side 


m 


This  evenin  g 
dress  of  crepe 
charmeuse,  by 
Frances,  has  a 
wide  bow  upon 
the  hip  and  a 
long,  sash-like 
drapery.  It  is 
black  —  favored, 
this  season,  by 
both  Paris  and 
Miss  La  Marr! 
The  black  turban 
is  trimmed  with 
Paradise  and  a 
diamond  orna- 
ment, and  the 
cloak  of  brocade, 
in  silver  and 
American 
beauty,  boasts  a 
border  of  white 
fox 


43 


Beefsteak  &  Onions 


Here  is  another  amusing  story  of  the  studios  by  Fran\  Condon,  author 
of  "Hollywood"  from  which  the  famous  picture  of  the  same  title  was  made. 
For  his  triangle  in  this  story  Mr.  Condon  has  selected  a  cross-eyed  come" 
dian,  a  fat  comedienne  and  a  European  "vamp."  Again  the  course  of  true 
love  runs  over  a  lot  of  bumps,  but  finally  stri\es  the  concrete  pavement 


By  Frank  Condon 


Illustrations   by   James   Montgomery    Flagg 


WE  all  know,  from  experience,  that  a  great  many 
stories  contain  a  moral,  or  a  lesson,  or  a  concealed 
indicator,  designed  to  improve  the  reader  and  make 
him  a  better  man;  and  in  almost  all  stories,  the 
little  kicker  comes  at  the  extreme  end,  just  above  the  tail- 
light.  This  system  forces  the  reader  to  go  laboriously  through 
the  thing  to  the  bitter  end  in  order  to  get  his  moral. 

In  the  present  instance,   the  usual  formula  is  directly  re- 
versed, and  the  moral  is  given  immediately,  thus  entailing  upon 
nobody  the  actual  reading  of  the  story.     You  take  your  moral 
and  your  hat  at  the  same  moment.     There  may  be  a  good 
two-reel  comedy  down  the  street,  and  if  so,  who  wants  to 
stay  in  the  house? 

Moral  of  the  story:  If  you  are  seriously  thinking  of 
giving  your  present  woman  the  dispossess,  be  she  sweet- 
heart, wife  or  suchlike,  and  if  you  have  another  lady  in 
your  mind,  do  not  cast  aside  and  scorn  your  present 
woman,  seeking  strange  joys  and  satisfaction  with  the 
new  flame;  for  verily,  my  son,  in  the  long  run,  you  are 
bound  to  be  bitterly  disappointed,  and  the  day  is  coming 
when  you  will  sit  under  a  linden  tree,  and  wish  you  had 
your  present  woman  back;  because,  after  all,  she  was  a 
pretty  good  scout  and  the  new  Sadie  is  not  even  remotely 
what  you  thought  she  was  going  to  be. 

If  this  lengthy  moral  were  to  be  pasted  upon  the  wall 
and  digested  by  husbands  and  wives,  many  a  divorce 
judge  would  sell  his  toga  and  get  a  job.  There  is  too 
much  divorce.  It  is  almost  as  common  as  marriage  or 
lettuce  salad  with  Russian  dressing. 

Wherefore,  let  us  cease  beating  about  and  come  immediately 
to  the  known  facts  concerning  Fanny  Fay  and  Homer  Giffen, 
female  and  male  respectively,  unmarried,  in  love  with  each 
other,  and  both  holding  down  good  jobs  in  the  thriving  town 
of  Hollywood,  where  the  galloping  photographs  are  started 
on  their  rounds. 

Homer  Giffen  was  not  his  cradle  name  and  Fanny  Fay  was 
not  put  upon  the  lady  in  a  church.  The  two  were  known  to 
the  giggling  millions.  Fanny's  real  and  original  title  was 
Rosemary  Rousch,  but  the  motion  picture  people — Charley 
Zander,  to  be  precise — made  her  change  it  to  Fay  because  she 
was  plump  and  played  comedies.  Plump  is  polite.  She  was 
stout.  And  she  knew  it.  But  she  was  a  jolly,  healthy,  right- 
minded  girl  and  everyone  liked  her.  A  girl  can  be  mildly  obese, 
and  still  be  lovable,  in  spite  of  universal  belief  to  the  contrary. 

Nobody  ever  knew  Homer  Giffen's  correct  name.  It  prob- 
ably was  O'Conner  or  Murphy.  Long  before  he  got  his  first 
job  with  the  Fairfame  Pictures,  he  was  Homer  Giffen,  which 
was  originally  the  name  of  a  horse.  Sixty  per  cent  of  the 
movie  people  in  Hollywood  bear  the  names  given  them  in 
infancy.  The  others  pick  theirs  off  fences,  out  of  the  death 
columns,  perfume  advertisements  or  elsewhere. 

Fanny  Fay  and  Homer  Giffen  had  labored,  side  by  side,  in 
Hollywood  for  several  years,  drawing  salary  from  the  Fairfame 
Corporation,  and  getting  better,  year  by  year.  Fairfame 
Pictures  are  made  in  a  huge  temple  of  art  and  released  through 
a  subsidiary  corporation,  and  the  firm  has  expanded  for  the 
past  five  years,  until  it  is  now  one  of  the  giants  of  the  industry, 

u 


art,  business  or    whatever   it  is  that    Motion    Pictures  are. 

The  Fairfame  studio  produces  forty  pictures  a  year,  mostly 
society  dramas,  with  plenty  of  boiled  shirts  and  colored  maids 
to  help  undress  madame.  It  produces  likewise  adventure 
features,  three  or  four  sea-tales  and  half  a  dozen  westerns, 
wherein  the  stern-faced  sheriff  does  the  right  thing  by  little 
Nell. 

Realizing  that  even  a  serious-minded  movie  corporation 
ought  to  relax  into  occasional  comedy,  Fairfame  began  making 
two-reel  laugh-coaxers.  They  named  them  Red  Bird  Comedies 
and  sent  them  out,  not  expecting  to  startle  civilization,  but 
to  everyone's  astonishment,  Red  Birds  began  to  hit  the  public 
on  the  nose.  They  grew.  Father  saw  them  and  hurrying 
home,  informed  mother,  whereat  mother  took  Johnny  and 
Sis,  and  the  exhibitors  called  upon  Fairfame  for  more  and  more. 

Now  then,  the  heart  and  soul,  gizzard  and  innards  of  Red 
Bird  Comedies  are  Homer  Giffen  and  Fanny  Fay.  For  two 
years,  these  short  comedies  have  been  pulling  the  public 
through  the  turnstile,  and  you  will  possibly  recognize  Homer 
Giffen,  when  I  state  that  he  is  a  thin,  wistful-faced  comedian 
with  one  eye  slightly  turned  in  towards  the  bridge  of  his  nose. 
Mr.  Giffen's  strabismus  is  not  as  pronounced,  in  life,  as  it 
seems  on  the  screen. 

In  front  of  the  camera,  he  obtains  a  better  effect  by  exagger- 
ating his  misfortune.  He  is  only  mildly  cockeyed  and  has  been 
so  since  a  mere  child.  The  way  he  became  cockeyed  is  rather 
interesting.  His  mother,  a  careless  soul,  used  to  gad  about 
nights,  leaving  little  Homer  in  a  crib,  with  an  electric  light  to 


■ 


Homer  Giffen  and  Fanny 
Fay  sat  at  their  old  table. 
Fanny's  eyes  were  bright 
and  she  was  laughing. 
Mother  Quinn  approached 
her  chickens.  "I'll  take 
beefsteak  and  onions,"  said 
Fanny.  "Gimme  the  same 
thing,"  Horner  said 


mou-rcgauepx 


amuse  him.  Homer  would  lie  and  stare  for  hours  at  the  lamp 
above  his  innocent  head,  crossing  his  childish  eyes  in  order  to 
see  the  thing. 

His  right  eye  became  so  accustomed  to  its  oblique  position 
that  it  stayed  there,  and  thus  a  careless  mother  unwittingly 
wafted  her  only  son  into  a  job  with  the  movies  at  four  hundred 
dollars  a  week.     It  was  not  always,  of  course,  four  hundred. 

When  Homer  started  with  Fairfame  Pictures,  he  drew  a 
modest  fifty,  and  in  those  blithe  days,  Fanny  Fay  was  a 
hulking  extra,  at  twenty-five.  They  were  thrown  and  grew 
up  together.  They  became  interested  in  each  other.  They 
ate  daily  in  the  cafeteria  of  Mother  Quinn,  opposite  the  studio, 
and  it  was  Mother  Quinn  who  took  them  under  her  ample 
wing  and  fed  them  along  to  fame,  continued  health  and  finan- 
cial prosperity. 

Mother  Quinn's  eating  room  is  a  Hollywood  institution,  a 
sort  of  landmark,  the  same  as  the  hotel  in  which  Charley 
Chaplin  pasted  the  producer  on  the  chin.  Mrs.  Quinn  is  a 
kindly,  generous  and  deliberate  old  soul,  who  knows  well  the 
sorrows  of  extra  girls,  and  the  occasional  long  pauses  between 
pay  checks.  She  is  a  cook  par  excellence.  She  could  almost 
cook  a  parsnip  so  you  could  enjoy  it. 

From  the  beginning,  the  old  lady  was  fond  of  Fanny  Fay  and 


Homer  Giffen.  They  became  her 
cherished  children  and  as  they  grew 
more  famous,  her  delight  increased 
and  she  came  to  feel  herself  a  direct 
influence  in  their  lives.  She  believed 
that  the  fine  success  of  Red  Bird 
Comedies  was  a  direct  tribute  to  her 
culinary  skill,  and  sage  advice.  In 
the  early  days,  Fanny  Fay's  favorite 
dish  was  beefsteak  and  onions,  a  la 
Mother  Quinn.  Fanny  adored  beef- 
steak and  onions.  It  was  her  noon- 
time dish  and  she  revelled  in  it.  The 
first  time  she  indulged,  she  had  been 
without  food  for  several  days,  due  to 
fiscal  reasons,  but  her  zest  for  that 
particular  combination  of  foods  has 
never  decreased — until  recently. 

Mother  Quinn  concentrated  her 
skill  upon  beefsteak  and  onions,  until 
the  dish  has  become  a  miracle.  Beef- 
steak, in  itself,  is  a  bovine  thing  and 
humble  enough;  likewise,  onions  are 
rather  lowly,  springing  meekly  from 
the  earth,  but  the  combination,  as 
Mother  Quinn  sets  it  forth  from  the 
fragrant  pan,  is  a  haughty  and  im- 
perious triumph,  which  would  bring 
the  drip  of  eager  water  from  the 
chops  of  Egypt's  sublimest  mummy. 

Fanny  Fay  continued  to  cultivate 
the  Quinn  beefsteak  and  onions  from 
that  day  to  this,  gaining  in  strength, 
rising  in  her  art  and  drawing  down, 
roughly,  the  same  salary  as  the  Presi- 
dent of  Harvard  University. 

FOR  the  last  two  years,  things  have 
been  running  along  serenely  for 
Fanny  Fay  and  Homer  Giffen.  They 
were  business  associates,  then  friends, 
then  sweethearts,  and  not  so  long 
ago,  the  two  Red  Bird  stars  idled  in 
the  Cue  You  Inn,  as  it  is  sometimes 
called,  lingering  over  their  coffee.  It 
was  shortly  before  noon  and  the  big 
room  was  but  partly  filled.  Fanny, 
ordinarily  calm,  on  this  day  gazed  at 
Homer  with  a  gentle  and  sentimental 
eye. 

"Homer,"  she  said,  "we've  been 
talking  about  getting  married  for  a 
year.  Let's  hop  into  it.  One  home 
is  cheaper  than  two  homes.  With 
the  money  we  save,  we  can  buy  real 
estate,  and  you  know  what  real  estate 
is  doing  in  Hollywood  today." 

Homer  put  down  his  cup  and  con- 
sidered.   His  good  eye  wandered  to  a 
pretty  bungalow,  with  a  housewife  fussing  about  her  veranda. 

"I've  been  thinking  the  same  thing,  lately,"  he  said.  "We 
should  have  been  married  six  months  ago.  There's  a  darned 
nice  house  out  on  Sunset.  We'll  go  out  there  and  look  it  over. 
Vines  all  over  it.  Double  garage  and  everything.  We'll  just 
about  buy  that  house." 

Prosaic?  you  say.  No  warm  blushes  or  the  thrillings  of 
ardent  love?  Nothing  here  concerning  radiant  blue  eyes, 
lovely  brown  hair,  soft  tones  of  a  dulcet  voice  and  all  the  stir- 
ring stuff  Robert  W.  Chambers  worked  into  his  love  scenes  in 
the  good  old  days  when  Ford  was  trying  to  borrow  money  and 
a  monkey  could  keep  his  glands.  True.  Yet  Homer  loved  his 
plump  partner  and  Fanny  knew  that  Homer  would  be  forever 
and  aye,  the  only  man  in  her  life. 

Love  can  not  always  be  burning.  You  take  two  people  who 
have  been  intending  to  marry,  more  or  less  for  two  years,  and 
it  is  unlikely  that  the  male  will  constantly  inform  the  female 
that  he  trembles  at  the  mere  touch  of  her  hand.  Or  that  her 
smile  gives  him  ecstatic  gooseflesh.  No  sir.  That  sort  of 
thing  goes  with  the  early  and  fevered  hours  of  acquaintance, 
when  lad  has  met  lassie,  and  has  taken  to  writing  poetry  on 
the  back  of  the  family  milk  bill. 

The  conversation  in  Mother  Quinn's  did  not  result  in  im- 

45 


JAIiiES-    iiionrcoiuHN   +1A8T. 


mediate  action  or  the  signing  of  a 

deed.    It  slipped  from  Homer's  mind, 

in  a  rush  of  complications  over  a  new 

comedy.     Fanny  said  nothing  more 

and  the  days  passed  into  weeks,  with  the  two  comedians  eating 

daily  at  the  Quinn  menage  and  business  as  usual. 

Then,  as  happens  to  us  all,  old  lady  Tragedy  put  on  her 
goloshes  and  blundered  into  the  serene  affairs  of  Fanny  and 
Homer.  Rosa  Posdrovna  arrived  in  Hollywood,  fresh  from 
New  York,  with  her  white  face,  her  scarlet  lips,  her  gleaming 
black  hair  and  fcty-seven  trunks  rilled  with  the  spoils  of  war. 
She  was  as  interesting  and  romantic  a  figure  as  Hollywood  had 
seen,  and  all  southern  California  sneaked  over  to  the  Fairfame 
studio  to  steal  a  look. 

Rosa  came  into  town  with  a  nourish  of  banners,  and  the 
shrilling  of  trumpets,  because  Fairfame  Pictures  saw  to  it. 
The  publicity  department,  run  by  Joe  Woodward,  uncorked 
a  can  of  fresh  adjectives  and  spilled  information  about  Rosa 
into  the  daily  newspapers,  causing  timid  wives  to  tremble  in 
their  kitchens.  Charley  Zander,  general  manager  of  the  Fair- 
fame  Corporation,  took  personal  charge  of  Rosa's  arrival  and 
almost  made  it  a  state  holiday. 

They  coaxed  the  chief  of  police  to  meet  the  lady  with  a 
cordon  of  guards.  A  parade  passed  through  the  principal 
streets,  and  only  for  a  slight  hitch,  the  mayor  would  have  made 
a  speech  on  the  steps  of  City  Hall.  Rosa  Posdrovna  came 
from  Europe,  and  from  the  mystic,  fascinating  parts  of  Europe. 
She  wore  her  hair  slick  and  black.  Her  manner  was  languid, 
and  all  mankind  was  the  dust  under  her  ornamental  feet. 

Rosa  had  made  fugitive  movies  in  Europe  and  was  admitted- 
ly a  wild  creature,  though  strictly  innocent.  She  was  a  royal 
princess  and  had  her  castles.  Kings  had  knocked  their  heads 
upon  the  ground  and  begged  her  to  come  in  and  take  charge. 
One  young  princeling  had  shot  himself,  through  the  head, 
hitting  it  after  three  attempts,  and  all  over  Rosa  the  Magnifi- 
cent. I  wish  to  pause  here  and  state  that  Joe  Woodward  is 
a  highly  deserving  young  squirt. 

Two  days  after  Rosa  entered  Hollywood  in  state,  it  was  dis- 
covered that  she  carried  a  high  voltage  and  was  as  temper- 

46 


He  began  dropping  into  her  dressing  room,  and 

he    brought    her    oranges,    of   which    she    was 

insanely  f ottd 


amental  as  tipped-over  hornets.  She 
could  pass  from  low  to  high  shrieking 
without  shifting  gears  and  everybody 
in  the  studio  annoyed  her.  She  was 
a  tigress,  fresh  from  the  jungle,  yearning  for  trouble. 

Somebody  in  Europe  had  told  her  that  great  actresses  should 
scorn  Americans  and  treat  them  with  vast  contempt,  because 
they  understood  nothing  else.  Americans  should  be  stepped 
upon,  kicked  in  the  ribs,  pushed  into  the  ditch  and  otherwise 
assured  of  their  contemptible  inferiority.  Rosa  followed  her 
instructions.  She  looked,  her  first  day  at  work,  at  the  dressing 
room  used  by  Mary  Carter,  the  leading  female  star  of  Fairfame 
Pictures,  sniffed,  and  demanded  something  better  for  herself. 

"This  dame,"  observed  Charley  Zander,  who  is  a  granite- 
faced  old  veteran,  "is  going  to  give  us  a  heap  of  trouble:  She 
looks  like  a  fence-jumper  to  me." 

It  so  turned  out  precisely.     Fairfame  Pictures  have  had 
their  trials,  in  their  five  years,  with  fevered  females,  but  they 
didn't  meet  real  trouble  until  the  royal  Rosa  moved  in  and 
took  her  quarters.     Took  them  is  what  she  did,  too.     She  • 
scorned  the  honest,  humble  dressing  rooms  generally  assigned 
to  ordinary  stars.     Bigger  and  better  was  what  she  demanded. 
So  she  confiscated  the  scenario  department — actually  stepped  I 
in  and  commandeered  the  entire  department  of  letters.     The 
meek  and  despised  gang  of  scenario  writers  had  always  toiled  j 
in  a  neat  little  building  with  a  chimney.     It  was  full  of  rejected 
manuscripts,  books  that  ought  to  be  read,  books  that  nobody 
could  or  would  read,  glassy-eyed  continuity  writers,  men  and  I 
women  full  of  ardor  and  words,  and  young  girls  who  wore 
spectacles  and  expected  to  have  careers.     Rosa  passed  this 
quaint  building. 

"What  is  those?"  she  demanded,  meaning  the  scenario 
building. 

"That,"  said  Charley  Zander  proudly,  "is  our  scenario 
department.     That  is  where  we  prepare  our  continuities." 

"I  shall  have  him,"  announced  Rosa  in  her  clear  voice. 

Charley  glanced  at  Rosa  and  it  dawned  upon  him  that  Rosa 
desired  the  department  to  have  and  to  hold. 

"Oh,  no,"  he  said,  assuming  his  pleasantest  manner.     "We 


have  a  fine  dressing  room,  all  prepared  for  you,  Madame." 
"I  do  not  wish  the  dressing  room,"  proclaimed  the  leveller 
of  kings.  "I  shall  make  the  dress  with  him."  Which  meant 
that  Rosa  desired  to  have  the  scenario  boys  and  girls  thrown 
out  of  their  home. 

Consequently,  within  twenty-four  hours,  the  entire  brain 
department  of  the  dignified  Fairfame  Picture  Corporation  was 
hustled  out  into  the  air.  Typewriters  were  to  be  seen  lying 
dismally  upon  the  ground.  Leaves  from  manuscripts  fluttered 
and  were  forever  lost.  Jimmy  Wilmot,  who  has  been  writing 
scenarios  for  ten  years,  viewed  the  shift  without  any  increase 
in  temperature.     He  merely  grinned. 

"This  goes  to  show  you,"  he  said  to  Miss  Lewis,  who  was 
carrying  her  belongings  away,  "what  I  have  long  contended; 
namely,  that  the  movies  are  striving  earnestly  to  find  good  stor- 
ies, and  that  the  story  is  the  main  and  foremost  thing.  A 
Swedenborgian  stoop-washer  shows  up  with  a  reputation  ac- 
cumulated from  six  rancid  Italian  pictures,  and  a  hot  love  affair 
with  a  Serbian  nobleman,  whom  she  stabbed  in  the  stomach, 
and  they  throw  us  all  out.  This  proves  effectively  that  after 
all,  Art  cannot  be  fettered." 

WHILE  Charley  Zander  struggled  with  the  fair  Rosa  and 
tried  to  get  her  actually  to  work,  which  she  declined  to 
do,  for  various  reasons,  Homer  Giffen  and  Fanny  Fay  jogged 
along,  producing  their  jolly  Red  Birds.  Fairfame  had  long 
realized  that  in  these  fun-makers  they  had  a  tidy  gold-mine. 
Mr.  Zander  and  others  searched  diligently  for  good  stories 
and  offered  fair  sums  therefor.  Homer  was  petted  and 
praised.  Officials  were  pleasant  and  complimentary  to  Fanny. 
There  were  vague  talks  of  larger  salaries.  In  a  word,  every- 
thing was  delightful,  with  the  public  yelling  for  fresh  comedies, 
and  plenty  of  Homer,  the  cock-eyed. 

Rosa  Posdrovna  eventually  began  work,  after  dallying  and 
dodging  for  weeks.  She  had  toothaches  that  kept  her  from 
working.  Charley  Zander  hustled  out  and  found  a  dentist. 
He  found  a  maid  for  her  bungalow.  He  found  the  bungalow. 
She  required  constant  attention  and  coaxing  and  eventually 
Mr.  Zander  announced  that  he  would 
either  commit  suicide  or  murder. 

When  she  did  begin  work  upon  her 
first  picture  for  Fairfame,  she  made 
everyone  miserable  and  became,  al- 
most immediately,  the  most  detested 
worker  in  the  vineyard.  The  camera- 
men hated  her  and  the  script  girls 
said  terrible  things.  Honest,  sweat- 
ing electricians  poured  their  baby 
spots  upon  her  dead  white  face  and 
consigned  her  to  the  lowermost 
depths  of  the  well-known  limbo.  To 
man  and  boy,  woman  and  girl,  Rosa 
was  anathema. 

On  her  side,  Rosa  scorned  them  all 
impartially.  They  were  toads  in  her 
path.  She  stared  at  them  over  the 
bridge  of  her  patrician  nose  and 
smiled  superciliously.  One  poor  car- 
penter, laboring  on  a  board  and 
smoking  a  pipe — a  pipe  which  he  had 
smoked  since  childhood — was  in- 
stantly discharged  because  the  smoke 
touched  Rosa  and  polluted  her.  She 
demanded  the  carpenter's  head  and 
got  it. 

The  Posdrovna  declined  to  hold 
any  communication  whatever  with 
other  actors  or  actresses.  They,  also, 
were  worms.  She  swept  by  hard- 
working officials  of  the  corporation 
and  ignored  them.  She  demanded 
and  obtained  a  special  entrance  in 
the  fence,  so  that  she  would  not  have 
to  come  in  with  the  vulgar  herd. 
When  she  acted,  her  sets  were  segre- 
gated, shut  off  from  prying  eyes  by 
walls  of  cotton  and  wood.  Her  director 
stood  in  awe  of  Rosa  and  whispered 
his  direclions.  She  referred  to  him 
as  Fishface,  which  came  eventually 
to  the  ears  of  his  wife,  who  desired  to 
know  if  he  was  a  man  or  a  clod.  ^  wamat 


Into  the  middle  of  all  this  there  strayed  one  morning  the 
shuffling  figure  of  Homer  Giffen,  the  pie-caster.  Passing 
across,  from  one  stage  to  another,  towards  his  own,  Homer 
paused  long  enough  to  peek  through  a  hole  in  the  cotton  bar- 
ricade, and  behold  Rosa  Posdrovna  in  the  throes  of  emotional- 
ism. Homer  lingered  and  forgot  his  own  company,  two  stages 
away,  and  busy  with  the  intimate  details  of  a  black  and  blue 
comedy  of  genuine  merit.  Rosa  was  at  the  top  of  a  paper 
staircase  and  was  acting  her  way  downward.  Overcome  with 
admiration,  Mr.  Giffen  nudged  his  way  through  a  pile  of 
discarded  scenery  and  entered  the  sacred  precincts' where  all 
were  forbidden  and  the  sign  read  brutally  "KEEP  OUT — 
THIS  MEANS  YOU."  An  attendant  sought  to  halt  Homer, 
but  he  brushed  by,  shuffling  along  in  his  extra-large  shoes  and 
baggy  pants. 

Presently  the  staircase  scene  ended  and  Rosa's  director 
observed  Homer.  So  did  Rosa.  She  stared  at  the  thin 
comedian,  whose  straight  eye  was  bent  upon  her  admiringly. 

"Who  he  is?"  Rosa  asked.  The  director  procured  Homer 
and  led  him  forward. 

"I  am  ver'  glad  to  meet  you,"  said  Rosa,  shaking  Homer  by 
the  hand  and  looking  perplexedly  into  his  eyes. 

"I  heard  a  good  deal  about  you,"  Homer  returned,  truth- 
fully. "It's  a  great  thing  to  have  you  working  in  Fairfame 
pictures." 

"Sure,"  Rosa  agreed.  She  continued  to  gaze,  with  a  certain 
degree  of  fascination  at  Homer's  right  eye.  They  talked 
amiably  for  several  minutes,  while  her  director  stood  by  in 
dumfounded  astonishment. 

"I  got  to  get  back  on  the  job,"  said  Homer  bashfully.  "I'm 
over  on  four.     Glad  to  meet  you,  Miss  Posdrovna." 

"So  I  get  on  the  job,  too,"  said  Rosa,  smiling  her  ravishing 
smile — the  same  smile  that  sent  the  young  prince  gunning  for 
his  own  head.  Her  beautiful,  white  face  was  close  to  Homer's. 
He  could  feel  an  electrical  thrill  running  down  the  calves  of 
both  legs.  "You  come  back  some  time,"  she  said.  "Ha! 
I  like  you." 

"I  should  say  so,"  agreed  Homer.       [  continued  on  page  125  ] 


Rosa  fell  into  one  of  her  justly  celebrated 
rages.      After   knocking  over  two  spot- 
lights, she  fell  in  a  faint 


W 


It  Can  Be  Done — Sometimes 


ONE  day,  a  good  many 
years  ago,  I  had  a  great 
piece  of  luck.  I  lost 
every  penny  I  had  in 
the  world.  Some  gentlemen  in 
the  Republic  of  Mexico,  men 
with  puckered  dispositions,  at- 
tended to  the  matter  for  me. 
They  did  their  work  well.  Their 
own  esteem  for  soap  and  water 
was  a  negligible  thing.  But 
they  cleaned  me  most  thor- 
oughly. 

1  was  not  in  the  first  blush  of 
effulgent  youth.  My  ancestors 
had  been  industrious  and  I  had 
been  reared  to  the  trade  of  be- 
ing their  descendant — and  liv- 
ing upon  the  fruits  of  their 
labor.  I  had  no  other  trade. 
And — I  had  to  eat. 

The  state  of  things  was  pain- 
ful, but  comic.  It  made  an  ap- 
peal to  my  sense  of  humor.  I 
spent  a  long  day  thinking  mat- 
ters over.  I  decided  to  go  to 
work.  I  had  written  all  my 
life,  not  so  much  as  a  way  to 
bread  and  butter  as  because  I 
liked  to  write.  I  resolved  to 
write  now,  to  a  large  extent  be- 
cause I  didn't  know  another 
thing  in  the  world  I  could  do. 

I  wrote.  I  wrote  cook  books, 
sermons,  special  articles,  short 
stories,  epigrams,  reminis- 
cences, essays — anything  and 
everything  I  could  think  to 
write.  I  wrote  about  twenty 
sketches  for  vaudeville  —  and 
managed  to  get  one  produced. 
I  was  the  fortunate  possessor 
of  a  dinner-pail  type  of  mind. 
I  went  at  the  thing  systemati- 
cally, welding  myself  to  my 
typewriter  for  about  eight 
hours'  every  day. 

The  pay  was  not  much  and  I 
accumulated  a  collection  of  re- 
jection slips  that  would  have 
papered  a  fair  sized  house.  But 
I  did  succeed  in  keeping  up  a 
bowing  acquaintance  with  food. 
And,  consciously  or  uncon- 
sciously, I  did  learn  that,  when 
a  thing  is  gone  about  in  the  right  way,  it  is  never  hard  to  do. 

Then  I  had  another  great  piece  of  luck.  I  secured  a  job 
writing  for  moving  pictures.  I  went  to  work  for  Thomas  H. 
Ince.  He  paid  me  fifty  dollars  a  week.  That  wasn't  so  bad. 
But  Mr.  Ince  did  a  good  deal  more  for  me  than  that.  He  is 
a  great  moving  picture  maker  and  I  have  every  reason  in  the 
world  to  be  eternally  grateful  to  him. 

My  associates  were  C.  Gardner  Sullivan,  J.  G.  Hawks  and 
Monte  Katterjohn.  Julien  Josephsen  joined  us  a  little  later. 
We  worked  very  hard  and  we  had  a  lot  of  fun  doing  it.  I  wrote 
fifty-four  original  stories  for  the  screen  in  eleven  months.  And 
we  made  pretty  good  pictures.  Sometimes  I  think  we  do  not 
make  very  much  better  moving  pictures  nowadays.  But  I 
suppose  we  do.  Old  times  are  apt  to  seem  best.  And  the 
game  was  young  then.  Even  we  who  were  not  so  young  in 
years  could  feel  the  enthusiasm  of  youth.  We  didn't  get 
enough  money  to  tempt  us  into  primrose  paths  of  diversion. 

All  we  had  to  do  was  to  make  moving  pictures.  We  did — 
and  liked  it. 

As  I  have  said,  this  was  a  good  many  years  ago.     I  have  been 

48 


By  John  Lynch 


John  Lynch,  author  of  this  article,  is  one  of 
the  prominent  and  successful  scenario  editors 
of  the  motion  picture  industry.  He  is  at 
present  production  manager  and  scenario 
editor  for  Distinctive  Pictures.  Recently  he 
was  editorial  director  for  Famous  Players. 
Here  is  a  partial  record  of  his  writings  for 
the  past  six  months — "Enemies  of  Women," 
"The  Go-Getter,"  "The  Bad  Man,"  "Law- 
ful Larceny,"  Broadway  Broke,"  "Cain  and 
Mabel,"  "The  Flaming  Forest,"  "Second 
Youth,"  and  "The  Weavers" 


writing  for  the  screen  ever  since. 
I  have  been  very  fortunate.  I 
have  never  been  one  week  wit  h- 
out  a  salary  check— and  I  have 
received  more  than  fifty  dollars 
a  week.  I  like  pictures.  I  think 
they  are  the  greatest  things  on 
earth  and  I  have  no  patience 
with  those  mole-brained  beings, 
inside  the  business  and  outside 
of  it,  who  apologize  for  them 
and  throw  stones  at  them.  Pic- 
tures and  picture  makers  may 
not  be  perfect,  but  they  aren't 
so  bad,  after  all  is  said  and 
done.  Perfection  is  rather  a 
lonely  state  of  being.  Our 
faults  are  the  things  that  keep 
us  human. 

All  this  is  by  the  way.  It  is 
far  from  my  purpose  to  become 
autobiographically  discursive. 
I  know  the  individual  is  never 
important.  I  know  the  man 
who  insists  upon  telling  the 
story  of  his  own  life  is  the  most 
boresome  being  on  earth.  I  tell 
this  much  of  my  own  connec- 
tion with  picture-making  just 
to  try  to  show  that  I  have  been 
at  it  a  long  while  and  that  I 
ought  to  know  a  few  things 
about  it.  And,  by  the  same 
token,  I  know  that  there  are  a 
great  many  things  I  do  not 
know  about  it.  I  am  not  Sir 
Oracle.  I  do  not  worship  at 
the  shrine  of  Saint  Little  Jack 
Horner.  I  hope  I'm  becoming- 
ly humble.  Pictures  have  been 
very  good  to  me.  I  hope  I  do 
not  fail  in  doing  the  best  I 
know  how  to  do  for  them. 

If  I  tried  to  get  together  all 
the  men,  women  and  children 
on   earth   who   have   tried   to 
write  stories  for  moving  pic- 
tures, I  should  have  to  hire  all 
the  halls  in  all  the  cities  of  the 
world  and,  having  done  this, 
spend  the  rest  of  my  life  in 
holding  overflow  meetings.  Al- 
most everybody  has  done  it. 
And  almost  everybody  thinks 
he   could  I  write   better  stories 
than  are  now  shown  on  the  screen.     Perhaps  almost  everybody 
may  be  right.     At  all  events,  it  can't  do  any  harm  for  almost 
everybody  to  have  a  try  at  the  thing. 
But— 

If  I  wished  to  bring  about  me  the  men  and  women  who  have 
made  a  real  success  and  a  good  deal  of  money  from  giving  their 
time  and  efforts  to  writing  for  moving  pictures,  I  could  enter- 
tain them  all  in  my  not  very  large  dining-room.  And  I  think 
I  would  have  to  call  in  a  few  outsiders  to  fill  the  seats.  I  would 
be  in  no  danger  of  having  thirteen  at  table.  There  are  not 
thirteen  successful  picturewrights  on  earth. 

I  do  not  say  this  by  way  of  discouragement  for  the  persons 
who  aspire  to  writing  for  the  screen.  I  think  the  day  for  the 
original  story  is  not  far  off.  It  is  not  yet  here.  But  the  end- 
less round  of  adaptations  from  plays  and  books  is  not  giving 
thoroughly  satisfactory  results.  We  must  have  screen  drama- 
tists if  we  are  to  get  out  of  the  rut  and  really  do  things.  The 
picture  industry,  so  called,  is  too  big  a  thing  to  depend  for  its 
source  of  supply  upon  a  by-product.  And  an  adaptation  is  a 
by-product.     We  must  raise  up  a  class  of  writers  who  will  learn 


our  game  and  work  for  us  wholeheartedly  and  undividedly. 
The  screen  has  an  audience  of  some  ten  or  fifteen  million  people 
every  day.  That's  a  big  enough  thing  to  command  the  interest 
of  any  man. 

What's  the  best  way  to  write  a  story?  I  should  say  the  best 
way  is  to  write  a  story.  Tell  what  you  have  to  tell  in  story 
form.  Get  down  on  paper  everything  you  have  to  say.  Don't 
high-falute  and  don't  try  to  indulge  in  fancy  writing.  But 
don't  be  afraid  of  words,  if  you  feel  that  you  need  words.  Pic- 
tures nowadays  cost  a  great  many  thousand  dollars  to  make. 
The  producer  who  will  not  give  an  hour  to  reading  a  synopsis 
is  a  hopeless  kind  of  being.  The  story  is  the  foundation  of 
every  picture  structure.  And,  no  matter  how  good  a  roof  a 
house  may  have,  it  can't  stand  up  very  well  without  a  good 
foundation. 

Don't  tell  how  you  think  the 
story  ought  to  be  screened.  It  is 
the  melancholy  pleasure  of  the 
trained  continuity  writer  and 
the  director  to  do  this.  Just 
tell  your  story.  If  the  persons 
who  put  it  on  the  screen  are 
going  to  make  a  botch  of  it, 
they'll  do  it  anyhow.  You  can't 
help  that.  And  it  won't  help 
you  a  bit  to  try  to  get  over  to 
them  what  jackasses  you  be- 
lieve them  to  be  and  how  sure 
you  are  that  you  know  their 
business  better  than  they  know 
it.  It  may  even  hurt  your 
chances  a  little. 

Remember  that  the  creed  of 
the  moving  picture  is,  or  ought 
to  be,  just  this— NOT  WHAT 
THEY  DO,  BUT  HOW  THEY 
DO  IT.  Get  action  into  your 
story.  Do  not  write  stuff  that 
must  depend  upon  narrative 
titles  to  get  it  over.  Sweat  your 
brain  to  work  out  your  ideas  in 
action.  Don't  toss  things  wet 
at  a  scenario  editor.  Let  them 
get  dry  and  work  them  over 
again.  Try  hard.  Don't  think 
writing  for  the  screen  is  an  easy 
job.  It  isn't.  It's  about  the 
hardest  job  in  the  world.  The 
making  of  pictures  is  about  the 
most  technical  task  imaginable. 
The  limitations  of  the  screen 
are  enormous.  Go  to  a  theatre 
and  see  a  picture.  Then  go 
home  and  try  to  write  down 
what  you  have  seen.  It  may 
help  you  a  little.  It  may.  At 
all  events,  it  can't  do  you  a  bit 
of  harm. 

Your  story  will  be  read.  You  need  have  no  fear  about  that. 
All  companies  of  any  size  employ  large  reading  staffs.  Readers 
wade  through  enormous  masses  of  matter  every  day.  Once  in 
a  blue  moon  they  strike  something  worth  while.  And,  when 
they  do,  they  rejoice.  Your  story  will  be  read.  Whether  or 
not  it  will  deserve  to  be  read,  is  quite  another  matter. 

Always  send  the  story  you  write  to  the  scenario  editor  of  the 
company  you  desire  to  honor  with  your  efforts.  Don't  send 
it  to  an  actor.  Most  actors  can  read — but  very  few  actors 
care  to  read.  And  they  would  give  the  story  to  the  editor  in 
any  event.  So  you  might  as  well  send  it  to  him  direct.  In 
nine  cases  out  of  ten  he's  a  patient  sort  of  an  individual  and  it 
doesn't  jolt  him  very  much  to  know  the  worst  early.  He's 
used  to  punishment. 

Education?  Well,  I  don't  think  education  will  hurt  much. 
And,  at  that,  it's  rather  hard  to  say  just  what  education  is 
made  up  of  anyway.  I'm  quite  sure  it  doesn't  consist  of  book- 
learning.  But  reading  is  a  mighty  good  thing  for  a  writing 
man.  And  thought  and  observation  are  rather  essential. 
Most  of  the  men  and  women  I  know  who  have  made  big  suc- 
cesses writing  for  the  screen  have  been  persons  of  rather  broad 
education.  They're  always  studying  and  they're  always  try- 
ing to  acquire  knowledge.  They  rather  like  to  do  it.  They 
haven't  much  time  for  playing,  the  real  winners  at  the  game. 


Expert  Advice  for 
Beginners 

THE  day  for  the  original  story  is  not  far 
off.  Adaptations  from  plays  and  books 
are  not  thoroughly  satisfactory.  We  must 
have  a  class  of  writers  who  will  learn  our 
game  and  work  for  us  whole-heartedly  and 
undividedly. 

What's  the  best  way  to  write  a  story?  I 
should  say  the  best  way  is  to  write  a  story. 
Tell  what  you  have  to  tell  in  story  form. 

Remember  the  creed  of  the  moving' pic- 
ture is,  or  ought  to  be — NOT  WHAT 
THEY  DO  BUT  HOW  THEY  DO  IT. 
Get  action  into  your  story. 

Don't  toss  things  wet  at  a  scenario  edi- 
tor. Let  them  get  dry  and  work  them  over 
again. 

Send  your  story  to  a  scenario  editor — 
not  to  an  actor. 

The  newcomer  has  a  chance  if  he  will 
work  hard  and  not  get  discouraged. 

Write  clean  stories,  and  simple  stories, 
and  write  about  things  you  know. 

Writing  is  a  trade  and  you  have  to  learn 
that  trade.  It  probably  will  take  a  long 
time.  It  ought  to.  To  stub  your  toe  into 
success  is  a  great  misfortune. 


They  mean  business.  I'll  say  it  again — it  isn't  an  easy  life. 
I'm  quite  sincere  in  saying  that  I  think  the  newcomer  has  a 
chance — if  he  will  work  hard  and  not  get  discouraged  and  take 
the  thing  seriously  enough — and  not  too  seriously.  But  every- 
one cannot  win.  Can  everyone  paint  a  great  picture  or  com- 
pose a  great  piece  of  music  or  build  a  great  bridge?  The  ability 
to  do  these  things  is  more  or  less  of  a  gift.  You  have  it  or  you 
haven't  it.  And  the  only  way  to  find  out  whether  you  have 
it  is  to  make  the  biggest  try  that  you  know  how  to  make. 

If  you  fail,  it  won't  do  you  a  bit  of  harm.  Just  try  again. 
Any  man  who  gives  up  in  despair  before  he  has  at  least  fifty 
stories  rejected  has  no  place  in  the  moving  picture  business. 
If  the  knack  is  yours,  you  will  prove  that  fact  in  the  end.  But 
don't  expect  to  begin  cutting  coupons  the  day  after  you  have 

put  your  first  story  into  the 
mail-box.  It  can't  be  done. 
Writing  is  a  trade.  You'll  have 
to  learn  the  trade.  And  it  will 
probably  take  you  a  very  long 
time  to  do  so.  It  ought  to.  To 
stub  your  toe  into  success  is 
the  greatest  misfortune  in  the 
world. 

Write  clean  stories.  A  bath 
is  a  good  thing.  But  it's  an 
error  of  judgment  to  take  a 
bath  in  dirty  water. 

Write  simple  stories.  The 
screen  play  has  to  follow  a 
straight  line.  To  wander  into 
side  paths  gets  things  woefully 
mixed  up.  Be  direct.  And  use 
as  few  characters  as  your  con- 
science will  allow. 

Don't  write  about  things  of 
which  you  have  no  knowledge. 
It  has  been  said  that  every  man 
has  at  least  one  story  hidden 
away  some  place  in  his  being. 
I  don't  know.  I'm  inclined  to 
think  that,  if  he  has,  it's  prob- 
ably a  rather  dull  story.  But 
I'm  sure  that's  the  story  he 
should  try  to  write.  I  don't 
mean  to  write  it  literally.  He'll 
have  to  draw  on  his  imagina- 
tion a  good  deal  to  make  it  in- 
teresting. Fiction  is  fiction  be- 
cause it  is  not  fact.  Tell  of 
things  as  they  might  be  and  as 
they  should  be — and  not  just 
as  they  have  been.  Paint  the 
lily  and  scent  the  rose.  And 
try  to  see  your  story  on  the 
screen  as  you  write  it.  If  its 
events  can't  be  photographed, 
it  would  be  wiser  to  let  them 
remain  within  the  depths  of 
your  typewriter.  There,  at  any  rate,  they  are  altogether 
harmless. 

And,  above  and  beyond  all  things,  believe  in  pictures,  think 
they're  worth  while,  be  proud  of  them,  let  your  greatest  ambi- 
tion on  earth  be  to  do  your  part  for  them  and  in  them.  It 
isn't  a  mere  tripping  phrase  to  say  they're  the  biggest  force  in 
the  world.  They  do  play  an  enormous  part  in  the  existence 
of  millions  of  human  beings.  They've  made  life  a  little  easier 
for  a  lot  of  people.  If  you  can  help  along,  you  ought  to  be 
very  glad. 

And  if  you  can  make  a  lot  of  money  writing  for  the  screen, 
that's  not  to  be  despised.  Money's  a  mighty  important  thing — 
not  so  much  for  what  it  gives  us  as  for  what  it  saves  us 
from. 

But  the  best  thing  about  writing  as  a  means  of  livelihood  is 
that  the  money  gained  is  not  the  only  thing.  There's  a  lot  of 
joy  in  seeing  the  products  of  your  brain  machinery  in  print  or 
on  the  screen.  I  know  I  can  still  get  a  thrill  out  of  it.  That's 
something  I'd  hate  to  lose. 

I  like  the  money  as  much  as  any  living  man  and  I'm  not 
going  to  speak  ill  of  an  old  friend. 

But  money  isn't  the  all  in  all,  in  this  world.  There's  some- 
thing to  consider  besides  that. 

Writing  is  a  good  trade.     Get  to  it. 

49 


Fads  and  Fancies  of  Film  Folks 


Julia  Fai/e  is  sport- 
ing a  vaniiy  fxn. 
made  of  red  chiffon 
and  gold  cord.  It 
bears  a  good-sized 
mirror  in  wh  ich 
Julia  may  watch 
herself  using  the  aids 
to  beauty  that  are 
carried  in  the  silk 
bag  on  the  handle 


Here  is  Nita  NaldVs  latest  coiffure.  That  girl 
spends  half  her  life  thinking  up  new  things.  This 
style  shows  the  Chinese  influence  and  is  being  done 
by  Hattic  Tabourne,  who  is  the  favorite  hairdresser 
of  Hollywood 


One  article  of  apparel  that  has  come  down  from  the 
ages,  practically  unchanged,  is  the  garter.  They 
wore  garters  a  few  thousand  years  ago,  even  if  not 
m  iii-h  else.  Here  are  Julia  Faye  as  the  modem  lady 
of  the  garter,  and  Grace  Martin  as  the  ancient 


50 


How  He  Makes 
Them  Act 


Rex  Ingram  himself 
is  the  most  interesting 
personality  of  them  all 


By  Herbert  Howe 


HS 


"EY  there,  YOU!  And  where  do  you  think  you're 
going?  Report  to  the  station  house,  you're  under 
arrest." 

The  little  Ford,  which  had  been  coyly  bounding  up 
Broadway,  stopped  dead  with  a  shivering  chug. 

The  driver  sat  with  hands  paralyzed  to  the  wheel,  panting  an 
accompaniment  to  the  motor. 

But  the  youth  at  his  side  leaned  out  of  the  car  and  yelled  at 
the  arresting  traffic  cop:  "I  say,  and  where  might  vou  be 
from?" 

"And  what  is  it  to  you,  I'd  like  to  know?"  bellowed  Hiz 
Majisty  of  the  Law,  belligerently  eyeing  the  law-heedless 
droshky. 

"  Sure,  I  thought  you  might  be  from  the  old  country  the  same 
as  I." 

"What's  that  you're  saying?"  blustered  the  cop,  leaving 
traffic  flat  and  approaching  with  interest.  "And  where  might 
that  be?" 

"Dublin." 

"You  don't  say!"   puffed   The  Law  emotionally.     "Hey, 
YOU!" — pointing  the  official  shillalah  at  the  driver — "Drive 
on!    But  I'm  saying  it's 
lucky  for  you  that  you 
have  a  gentleman  with 
you." 

So  America  officially 
recognized  Rex  Ingram 
as  a  gentleman  the  first 
day  he  arrived  in  Ameri- 
ca, carrying  a  shotgun 
with  which  to  fight 
Indians. 

And  so,  too,  Rex  dem- 
onstrated the  qualities 
which  he  declares  most 
essential  in  a  director — 
quick  wit  and  an  under- 
standing  of  human 
nature. 

After  watching  him  in 
action  you  feel  you 
couldn't  have  had  a  bet- 
ter time  at  a  Sinn  Fein 
celebration  or  a  guillotine 
party.  It's  a  carnage  of 
wit  and  fury. 

Not  that  he's  jocular. 
On  the  contrary,  he's  the 
most  entertaining  when 
he's  the  most  in  earnest. 
It's  then,  too,  that  the 
Irish  brogue  is  thickest. 

"For  the  love  of  God, 
will  you  listen  to  me!" 
he  wails  from  his  high 
directorial  platform  as  he 
lashes  into  frenzy  the 
mob  of  "Scaramouche.", 

"Drag  up  the  cannon 
— it  looks  like  an  ice 
cream  wagon  back  there. 

"  That  soldier  that 
looks  as  though  he  were 
going  to  slap  some  one 
on  the  wrist  —  get  into 
the    background! 

"  Still  picture!    I  want 


Rex  Ingram  is  filled  with  superstitions, 
that  dwarfs  bring  him  good  luck,  and 


stills! "  he  howls.  Most  of  the  mob  being  Mexican  can't  under- 
stand, so  they  just  smile  oozily.  He  turns  frantically  to  the 
interpreter.  "How  do  you  say  'stills'?  Translate  it  into 
twelve  languages,  please! 

"For  the  love  of  God,  will  you  be  still!  That  man  with  the 
whiskers  that  looks  like  Mark  Twain,  quit  rubbing  your  nose 
and  hold  the  flag! 

"Still!  Oh,  my  Lord!"  he  turns  desperately  upon  the 
orchestra  wailing  La  Marseillaise  for  the  French  revolution,  and 
sobs:  "For  the  love  of  God,  play  some  Irish  music."  They 
play  "Mother  Machrec"  as  Danton  comes  swinging  through 
the  Paris  streets.  Rex  is  soothed.  Reviving,  he  hurls  a  few 
more  remarks,  like  hand  grenades,  into  the  mob  and  sends  it 
seething  on  to  the  Tuileries. 

No  other  director  can  evoke  the  individuality  of  a  player 
with  such  telling  effect.  Valentino  has  never  been  so  essentially 
Valentino  as  in  "The  Four  Horsemen,"  Barbara  La  Marr 
never  so  silken  and  subtle  as  in  "Trifling  Women." 

Classifying  directors  as  to  their  respective  abilities  for 
handling  men  or  women,  Mary  Pickford  was  stumped  when  she 
came  to  Ingram.    It  is  difficult  to  say  with  which  he  excels. 

He  has  an  instinct  for 
the  vibratory  key  of  an 
individual.  He  can 
establish  a  contact  with 
every  man  in  the  mob. 
He  knows  how  to  play 
on  emotions  to  get  the 
desired  pitch. 

I  watched  him  direct 
Ramon  Novarro  in  a 
scene  of  "  Scaramouche." 
Novarro  has  more  of  the 
genuine  artistic  tempera- 
ment than  any  actor  I 
know.  He  gave  a  superb 
performance  in  the  first 
rehearsal.  But  Ingram 
fairly  scorched  him. 
What  he  wanted  out  of 
the  boy  was  a  mingling 
of  grief  and  rage.  He 
lashed  him  through 
twelve  rehearsals  and 
then,  when  he  seemed 
utterly  despairing,  he 
turned  to  me  with  the 
exclamation,  "Isn't  that 
boy  a  wonder?  He's  the 
greatest  actor  on  the 
screen  —  I  have  never 
known  anyone  like 
him." 

"  But  you  thrashed 
him  through  twelve  re- 
hearsals!" I  remon- 
strated. 

"  Yes,  but  did  you 
notice  that  I  had  the 
camera  grinding  all  the 
time?  I'll  use  his  most 
spontaneous  moments." 
Merciless  to  the  in- 
dividual, he  brings  forth 
the  artist.  On  the  set  he 
shows  no  regard  for 

[  CONTINUED  ON  PAGE  106  ] 

53 


Naturally,  being  Irish.     He  believes 
here  he  is  with  two  of  his  mascots 


He  had  no  thought  but  that  he  and  this  girl  were  alone  in  a  world  of  their  own. 

presence  there,  everything  faded 


The  wilderness,  the  movies,  the  mystery  of  her 


In  Preceding  Chapters 

DAVE  MANN,  a  director  of  the  Nonpareil  Film  Company, 
has  started  off  on  a  search  for  realism  that  leads  through  a 
Canadian  wilderness.  In  his  party  are  Larry  Moncrieff — a 
real  person,  strangely  shy  and  silent,  even  though  he  is  the  idol 
of  feminine  America — Peggy  Dare  and  Fay  Brainerd,  popular 
leading  women;  Phil  Sherwood,  an  assistant  director;  Roy 
Quigley,  the  camera  man,  and  a  number  of  guides.  Mann 
hears,  through  one  of  the  guides,  of  a  mysterious  log  palace 
that  stands  on  the  shores  of  a  lonely  lake — a  palace  where  an 
old  man  and  a  beautiful  girl  live,  with  a  single  retainer  for  com- 
pany. Seizing  avidly  upon  the  idea  of  such  a  strange  setting, 
Mann  hurries  to  the  place  and  finds  it  even  more  wonderful 
than  he  had  hoped,  although  apparently  deserted.  Searching 
through  the  empty  rooms,  the  party  comes  upon  a  man,  bound 
and  gagged, — a  man  who  looks  like  a  brigand  and  who,  after 
examination,  proves  to  be  not  only  a  foreigner  but  a  deaf  mute. 
After  vainly  trying  to  make  them  understand,  the  deaf  mute 
goes  down  to  the  shore,  steps  into  a  canoe  and  paddles  away. 
Larry  Moncrie.T  expresses  anxiety  for  the  safety  Ci  the  old 


man  and  his  daughter,  saying  that  he  feels  they  ought  to 
investigate  the  matter  and  start  a  search.  But  he  can 
not  get  the  rest  of  the  party  to  share  his  apprehensions. 
The  company  goes  back  to  camp,  where  a  thunder  storm  keeps 
them  all  night  in  their  tents.  But  in  the  morning  they  return 
to  the  still  deserted  house,  and  begin  "shooting."  While  they 
are  at  work  they  are  interrupted  by  a  strange  old  man  with 
long  white  hair,  and  an  amazingly  lovely  girl  who  addresses 
him  as  "maestro."  He  orders  the  company  off  the  place, 
bitterly  reviling  them,  and  will  not  listen  to  any  explanation. 
But  as  he  is  speaking  the  deaf  mute  bursts  upon  the  scene  and 
goes  down  on  his  knees,  in  dog-like  devotion,  before  the  old 
man.  There  are  tears  in  his  eyes  and  the  girl  and  man  are 
apparently  shocked  and  frightened  by  the  message  he  com- 
municates to  them  by  means  of  his  agile  fingers.  Though  Dave 
Mann  offers  help,  in  the  name  of  the  whole  company,  the  help 
is  refused.  And  they  are  again  ordered  to  leave  the  place. 
Acknowledging  defeat,  at  least  for  the  time  being;,  the  director 
leads  his  company  back  to  camp.  . 


Chapter  III 

THERE  was  no  mistaking  the  fact  that  Dave  Mann  was 
in  a  bad  humor  as  the  canoes  crossed  the  bay  to  the 
the  camp.  Peggy  Dare  alone  risked  speech.  She  was 
still  sputtering  because  of  what  the  old  man  had  said 
to  her. 

"Oh,  shut  up!"  Dave  snapped  at  last.  "Nothing  happened 
to  you  and  look  what's  happened  to  me.  The  best  picture  I 
ever  did  and  stopped  right  in  the  middle  of  it." 

When  they  landed  he  went  at  once  to  his  tent,  but  a  few 
minutes  later  he  sent  for  Larry  Moncrieff. 

"Now,"  he  began  at  once,  "we've  got  to  finish  that  stuff  over 
there.  Understand?  Got  to.  I  know  now  what  this  picture's 
going  to  be  and  that  house  has  got  to  be  in  it." 

"When  the  old  fellow  calms  down  he'll  probably  let  you," 
Larry  suggested. 

"Calms  down!  He  has.  And  when  he  did  he  set  hard. 
I  know  his  sort.  Something  queer  about  him  in  the  first 
place  or  he  wouldn't  be  living  there.  We've  got  no  chance 
with  him." 

"Then  how  are  we  going  to  do  it?" 

"We're  not.     You  are." 

"Me!     How  can— " 


Not  in  the 
Scenario 


By  Kathrene  and  Robert  Pinkerton 


Drawings  by  R.  Van  Buren 


"Through  the  girl,  of  course.  Didn't  you  see  the  way  he 
quieted  down  when  she  spoke  to  him?  She  can  twist  him 
around  her  little  finger,  and  you  can  twist  her." 

"Me!     Why— why— " 

Larry  stammered,  partly  from  confusion,  partly  from  anger. 

"Yes,  you!"  Dave  exclaimed  harshly.  "You've  kept  clear 
of  all  this  mash  and  flapper  stuff  ever  since  you  came  onto  the 
lot.  Don't  I  know  it?  Haven't  we  passed  up  all  sorts  of 
chances  for  publicity  because  you'd  never  stick  your  head  out 
of  your  house  after  dark  unless  there  was  one  of  those  sym- 
phony concerts  on? 

"And  look  here,  Larry."  He  put  a  hand  on  the  actor's 
shoulder  with  sudden  affection.  "I  understand.  I  know  you 
don't  care  for  that  sort  of  thing  and  I  respect  you  for  it.  I've 
gone  to  the  mat  for  you  more  than  once  when  the  publicity 
man  had  won. over  the  big  boss.  They  were  going  to  drag  you 
out  whether  or  no.  But  I  stopped  it.  I  knew  how  you  felt. 
I  stopped  them." 

"But  Dave!"  Larry  protested  helplessly. 

"Now,  listen,  son.  I'm  going  to  put  this  on  the  grounds  of  a 
personal  favor.  I've  never  asked  anything  of  you.  I  picked 
you  out  of  an  office  at  twenty-five  a  week  and  now  you're 
getting  more  money  than  you  thought  there  was  in  the  world. 
I  don't  say  you're  not  worth  it,  mind  you.  You  are.  You 
earn  everv  cent  of  it." 

"But  Dave!" 

"Listen  to  me.  I'm  asking  you  to  do  this  as  a  personal 
favor  to  me.  That  girl  can  win  the  old  man  over.  A  girl 
with  her  looks  can  get  anything.  And  you  can  win  her  over. 
Just  whisper  your  name  and — Why,  there's  nothing  to  it. 
There  isn't  a  woman  under  forty-five  on  the  whole  continent 
who  doesn't  know  all  about  you.  And  just  because  this  is 
the  first  time  you've  fallen  it'll  be  all  the  stronger." 

"But  Dave!     Listen!" 

"  Will  you  do  this  for  me?" 

"It  isn't  that.     Of  course  I  would.     But  I  can't — can't — " 

"Can't  what?" 

"I  can't  put  it  over.  The  honest  truth  is,  Dave,  I'm  scared 
to  death  of  women.  I  can't  talk  to  'em.  They  make  me  sick, 
chasing  men  they've  seen  in  pictures.  And  I'm  a  fish  when  I'm 
not  working.  You  know  that.  When  I  see  myself  on  the 
screen  I  can't  believe  it's  me." 

Dave  stared  at  him  for  a  moment  without  speaking.  He 
knew  what  Larry  meant.  It  had  puzzled  him  before  and  it 
had  been  the  cause  of  endless  discussions  among  people  who 
worked  for  the  Nonpareil  Film  Corporation. 

There  was  something  weird  about  it.  On  the  screen  Larry 
Moncrieff  possessed  more  magnetism  than  any  man  is  entitled 
to.  The  adoration  of  several  million  women  attested  to  his 
ability  to  enact  romantic  and  sentimental  roles.  Cynical 
critics  confessed  that  his  work  was  excellent.  Some  even  went 
so  far  as  to  say  he  was  one  of  the  few  people  in  the  films  who 
possessed  real  histrionic  ability. 

Yet  always,  whenever  the  camera  man  ceased  grinding, 
Larry  relapsed  into  a  rather  stolid,  decidedly  diffident  and 
easily  embarrassed  young  mai-.  His  sudden  rise  to  fame  and 
his  enormous  popularity  did  not  seem  to  have  touched  him  in 
any  way.  He  never  hung  around  the  studio,  rarely  associated 
with  movie  people.     Many  a  woman,  attracted  by  his  salary, 

55 


had  tossed  a  Parisian  creation  into  the  ring  without  his  ever 
having  seen  it. 

The  mystery  of  Larry's  case  was  heightened  by  the  fact  that 
he  always  had  a  double  for  difficult  roles.  The  general  opin- 
ion in  filmland  was  that  he  lacked  nerve  for  hazardous  stunts. 
Even  those  who  worked  with  him  never  were  certain  this  was 
not  true.  They  knew  Dave  Mann  always  provided  for  the 
double  and  was  zealously  vigilant  of  his  star's  welfare.  Only 
Fay  Brainerd  sensed  that  it  was  a  matter  to  which  Larry  had 
given  little  heed  either  way,  and  yet  Fay,  who  probably  under- 
stood him  better  than  anyone  else,  had  never  reached  a  definite 
conclusion. 

All  these  things  flashed  through  Dave  Mann's  mind  as  he 
looked  at  the  young  actor.  There  were  no  secrets  hidden  from 
him  in  the  Nonpareil  studio  and  yet  he  suddenly  realized  that 
here  was  something  that  was  a  little  beyond  him. 

"I  tell  you,  Dave!"  Larry  burst  forth.  "I'd  do  anything 
for  you.     You  know  that.     But  I'm  afraid  I — " 

"All  right,"  Dave  interrupted.  "Then  all  I'll  ask  you  to 
do  is  to  make  the  try.  See  her.  Talk  to  her.  Ask  her  to 
use  her  influence  to  get  the  old  man  to  let  us  finish  that  stuff." 

Larry  turned  toward  the  door.  He  looked  exactly  as  might 
a  man  who  was  starting  for  the  electric  chair. 

"  All  right,"  he  said.  "  After  lunch.  I'll  go  over  and  do  the 
best  lean." 

"Fine!     I  knew  you  would." 

True  to  his  word,  Larry  started  an  hour  later,  going  alone  in 
the  small  canoe.  He  said  nothing,  but  he  had  not  reached  the 
center  of  the  bay  before  his  destination  aroused  the  curiosity 
of  everyone  in  the  company. 

"  So  that's  it!"  Peggy  Dare  exclaimed  as  she  turned  to  Dave 
Mann.  "  Working  your  resistless  male  vamp  off  the  lot  at  last, 
are  you?" 

"Keep  quiet,  Peg!"  Dave  snapped  irritably.     "I've  got  to 
finish  that  stuff  and  Larry's  got  the  name  and  the 
face  to  win  out  if  anyone  has." 

"Name  and  face,  yes.  But  he  won't  know 
what  to  say  when  he  gets  there.  He'll  be  too 
fussed  to  speak." 

"You  didn't  help  any  this  morning  when  you 
lit  into  the  old  man  the  way  you  did." 

"Well,  if  you  think,  Dave,  that  I  was  going  to 
stand  for  what  he  called  me  without — but  I'll 
tell  you  what  I'll  do.  I'll  bet — well,  anything 
you  say  up  to  a  week's  salary,  that  'Handsome 
Larry'  is  back  here  in  half  an  hour." 

Dave  glanced  at  her  and  she  caught  the  fear  in 


his  eyes.     He  turned  away  with  a  grunt  and  Peggy  smiled  as 
she  walked  to  the  tent  she  shared  with  Fay. 

But  Larry  did  not  return.  Dave  watched  impatiently. 
Peggy  watched.  An  hour  went  by  and  his  canoe  was  still  tied 
up  at  the  dock  across  the  bay. 

"Huh!"  Dave  chuckled  as  he  walked  past  his  leading 
woman.     "Who's  the  wise  one  now?" 

"He  hasn't  brought  home  the  bacon  yet,"  Peggy  retorted. 

Meanwhile  a  somewhat  terrified  and  completely  embarrassed 
young  man  had  paddled  a  canoe  across  a  half  mile  of  water  to 
the  most  difficult  task  of  his  life.  The  girl  he  was  going  to  see 
had  jerked  him  out  of  the  picture  that  morning  in  an  astound- 
ing manner.  The  combined  attractions  of  all  the  stars  of 
filmdom  could  not  have  had  so  strong  an  effect  upon  him. 
Never  before  had  he  experienced  such  emotions. 

Yet  it  was  not  of  these  things  that  he  thought.  He  was 
conscious  only  that  in  a  few  minutes  he  would  be  face  to  face 
with  her,  that  he  must  speak,  that  somehow  he  must 
enlist  her  aid  for  his  friend. 

Larry  watched  the  big,  sprawling  cabin  closely  as  he  paddled. 
For  a  time  he  could  not  see  anyone  and  then  to  his  delight  the 
old  man  and  the  deaf-mute  crossed  the  clearing  at  the  rear. 
When  they  disappeared  in  the  forest  he  went  on  a  little  faster. 

Just  as  he  was  about  to  land  the  girl  herself  came  out  from 
behind  the  brush  along  the  water's  edge  and  stepped  onto  the 
dock.  She  stopped,  startled,  when  she  saw  him.  Larry 
jerked  off  his  hat. 

"How  do  you  do,"  he  said. 

She  smiled  and  walked  out  onto  the  dock  as  he  drew  alongside. 

"  You  are  very  brave  to  come  so  soon  after  what  the  maestro 
said  this  morning,"  she  laughed. 

"It  wasn't  exactly — well,  bravery,"  he  stammered.  "You 
see — I'm  Larry  Moncrieff  and  I  wonder  if  I  could  talk  to  you 
a  few  minutes." 


Zappetlini  charged  down  the  dock  toward  the 

canoe.    "Get  out!"   he  cried,   so  furiously 

the  canoeman  shoved  away.     "Don't  ever 

dare  come  near  this  place  again" 


66 


"  Certainly  you  may, 

Mr. Ididn'tquite 

catch  the  name." 

"Larry  Moncrieff,  of 
Nonpareil  Pictures." 

There  was  no  change 
whatever  in  her  ex- 
pression and  Larry 
stared  at  her  in  aston- 
ishment. The  name 
that  would  have 
thrilled  any  woman  in 
the  country  had  meant 
nothing  to  her. 

"Pardon  my  asking 
it,"  he  burst  forth, 
"but — but — you  never 
heard  of  me,  did  you?" 

"Should  I?"  and 
there  was  a  twinkle  in 
her  eyes. 

Then  she  added 
quickly, 

"But  I'm  glad  to 
know  you  just  the 
same,  Mr.  Mon — Mon- 
crieff. My  name  is 
Marguerite  Temple." 

Larry  leaped  out  of 
the  canoe  and  stood  be- 
fore her.  His  face  was 
beaming,  his  embar- 
rassment was  gone. 

"Good  Lord!"  he 
cried  exultantly. 

The  girl  stared  at 
him  in  such  astonish- 
ment he  got  control  of 
himself. 

"I'm  awfully  glad  to 
meet  you,  Miss 
Temple,"  he  said  im- 
pulsively. "I  didn't 
think — I  didn't  know 
that — have  you  lived 
here  long?" 

"Eight  years." 

"But  you  have  been 
away,  out  to  a  city?" 

"No,  not  since  I 
came." 

"And  you  never  go 
to  picture  shows  or  see 
the  fan  magazines?" 

She  shook  her  head 
in  bewilderment. 

Larry  threw  back  his  head,  straightened  his  shoulders 
and  stared  up  at  the  hillside.  "Gee,  this  is  a  wonderful 
place  to  live!"  he  cried.  "I  never  knew  there  was  such 
a  country.  I — I've  thought  about  the  woods  ever  since  I  was 
a  boy  and  I've  always  wanted  to  see  them.  But  the  nearest 
I  ever  came  to  it  was  clerking  for  a  big  lumber  company.  It 
was  in  the  city  office  and  I  never  even  saw  a  board,  let  alone  a 
pine  tree." 

There  was  a  longing  in  his  words  and  manner  that  touched 
the  girl. 

"I  know,"  she  said.  "It  is  terrible  to  be  shut  up  in  a  city. 
I  was  once." 

"You!" 

"Yes,  before  the  maestro  brought  me  here." 

"The  maestro?" 

"Yes,  Signor  Ettore  Zappettini.  You  saw  him  this  morn- 
ing." 

"Zappettini,"  he  repeated  slowly. 

He  stared  past  her,  his  brow  wrinkled  in  an  effort  to  remem- 
ber, and  then  suddenly  his  lips  puckered  and  he  began  to 
whistle  softly. 

"You  know  that,  his  first  capriccio!"  she  cried. 

"Know  it!  And  his  one  symphony,  especially  the  third 
movement.  I  have  searched  and  searched  for  more  and 
wondered  why  I  could  find  nothing." 

"You  will,"  she  said,  and  her  voice  thrilled  in  a  manner  that 


"  Rather  stay  with  a 
murderer  than  go 
with  your  own  kin, 
would  you?"  the  man 
snarled.  "  What's 
he  done  to  you  that 
you  act  like  this?" 


was  not  only  significant  but  started  Larry's  heart  to  beating 
as  if  he  had  been  running.     "And  oh,  it  is  wonderful!" 

She  stopped  speaking  and  glanced  quickly  around.  Her 
face  was  flushed  and  her  eyes  were  bright  with  excitement. 
Larry  wondered  if  it  were  possible  for  any  woman  to  be  more 
beautiful  than  she  was  at  that  moment. 

"Come!"  she  exclaimed  suddenly.  "You  shall  hear  some 
of  it." 

She  leaped  off  the  dock  and  led  the  way  up  the  twisting  trail 
to  the  cabin.  She  ran  so  lightly  and  so  swiftly  Larry  had  diffi- 
culty in  following  her  to  the  great  living  room. 

But  without  pausing  the  girl  went  to  the  piano,  sat  down 
and  began  to  play.  For  a  moment  Larry  stood  there  and  then 
unconsciously  he  dropped  into  a  big  arm  chair. 

For  half  an  hour  the  girl  played.  She  rarely  finished  any- 
thing. It  was  a  succession  of  stray  movements,  of  fleeting 
bits  of  many  things,  and  yet  so  well  ordered  was  her  selection, 
so  easily  did  she  drift  from  one  to  another,  not  once  was  Larry 
aroused  from  his  ecstasy. 

When  at  last  she  turned  to  look  at  him  he  seemed  to  be  still 
in  a  daze  and  did  not  speak. 

"What  do  you  think  of  my  maestro  now?"  she  asked. 

"I — I  can't  tell  you,"  he  faltered.  "Why,  I  haven't  even 
breathed  since  you  began.     And  that  is  all  his?" 

"  All.    Done  right  here  in  this  room." 

[  CONTINUED  ON  PAGE  108  ] 

67 


Lois  Wilson  in  "Only  38"  shows  you 


Photoplay 

announces  a  monthly  article  on 

Home  Furnishing 

&  Decoration 


TNTO  the  capable  hands  of  William  J.  Moll— 
JLnationally  known  as  one  of  the  most  inspired, 
and  yet  most  practical,  of  interior  decorators — 
we  have  put  the  responsibility  of  this  new  de- 
partment. A  department  that  will  help  you 
with  your  problems  of  home-making  and  home 
beautifying.  A  department  that  will  take,  as 
a  constant  source  of  supply,  the  rooms  that 
are  being  pictured — from  month  to  month — 
in  current  photoplays. 

Clear,  concise,  easy  to  follow,  Mr.  Moll's 
articles  will  embody  simple  facts;  inexpensive, 
effective  methods.  A  clever  arrangement  of 
furniture,  a  bit  of  drapery,  a  color  scheme — the 
things  that  so  count,  and  are  so  easy  to  miss  ! 


The  same  room,  transformed — just  as  the  mot  ha- 
has  been  transformed.  Suitable  -pictures,  a  fresh 
coat  of  light  paint,  sunshine  and — flowered  cre- 
tonne! And  it  is  the  flowered  cretonne  that 
makes  the  greatest  difference.  Many  a  wistful 
housewife  has  found  the  happy  answer  to  an 
ugly  interior  by  the  use  of  cretonne.  From  the 
cheapest  domestic  fabric  to  the  most  expensive 
imported  material — it  is  all  charming! 


Lois  Wilson,  as  the  mother  in  "Only  38," 
contemplates  a  drab  room — furnished  in  the 
mid-Victorian  manner.  She  realizes  that 
the  solemn  pictures,  the  hangings  that  are 
heavy  in  both  color  and  fabric,  and  the  horse- 
hair-cover.ed  furniture  are  draining  the  youth 
and  joy  from  her  heart.  Working  alone,  and 
with  not  very  much  money  to  spend,  she  must 
think  of  a  solution — something  that  will  put 
the  sparkle  of  youth  into  a.  dingy  place! 


f 


58 


what  can  be  done  with  Cretonne 


Winter  or  Summer,  Cretonne  has  a  Place  in  the  Home 

You  can  build  beautiful  rooms 
on  the  proper  use  of  well'selected  patterns 


WE  speak  here  not  only  of  the 
new  homes,  resplendent  in  glis- 
tening paint  and  fresh  wall  sur- 
faces, into  which  cretonnes 
would  fit  admirably,  but  more  especially  of  the  home  long  estab- 
lished, whose  furniture  is  worn  by  years  of  use  and  whose  fresh- 
ness has  been  dimmed  by  seasons  of  sun  and  coal  dust.  Cretonne 
fits  into  any  home,  be  it  old  or  new.  But  its  dainty,  practical 
use  is  felt  more  keenly  when  it  is  employed  in  refurbishing  the 
wornout  rooms  and  furniture. 

Color  and  cheer  should  be  introduced  into  every  home,  and 
every  life.  To  every  one  of  us  these  things  are  due  in  some 
measure.  No  matter  how  hard  the  daily  tasks  that  confront 
us,  there  is  abiding  comfort  in  the  knowledge  that  we  can  seek, 
at  nightfall,  comfort  and  pleasantness  in  a  home  that  reflects 
cheerfulness  first,  and  characterful  color  next.  Successful 
mothers  and  wives  have  recognized  the  truth  of  the  above. 
Thousands  of  homes  throughout  this  country  bear  testimony 
to  the  fact  that  they  have  used  the  simple  methods  and  ma- 
terials at  hand,  to  create  in  their  homes  the  atmosphere  that 
will  bring  happiness  to  the  family. 

Generally  it  is  the  simple  things  of  life  that  effect  the  greater 
degree  of  happiness.  A  home  does  not  have  to  be  furnished 
throughout  in  new  furniture  to  make  it  pleasing.  Nor  does  it 
have  to  be  filled  with  the  expensive  things.  Most  home 
equipment,  used  rightly  or  in  the  proper  decorative  spirit, 
would  make  changes  you  so  often  desire  after  you  have  seen 
the  home  that  is  tastefully  and  cheerfully   furnished. 


By  William  J.  Moll 


of  furniture  in  a 


So  then,  what  are  the  things  in  home 
decoration  which  most  effect  a  pleasing  re- 
sult? Proper  placement  of  furniture,  yes. 
There  are  certain  principles  in  the  placing 
room  that  should  be  followed  for  the  best 
results.  But,  first  of  all,  furniture  should  be  placed  in  groups 
that  will  afford  most  comfort  to  those  who  use  the  rooms. 
Though  this  is  done,  there  still  is  lacking  the  greatest  of  all 
elements.  In  the  accessories  of  a  room — in  the  draperies,  the 
furniture  coverings,  and  the  things  we  usually  consider  minor — 
are  found  the  keynotes  that  give  life  to  our  surroundings.  And 
here  we  come  to  a  consideration  of  cretonne  in  its  application 
as  a  tone-builder  and  cheer-giver  in  the  home. 

There  are  many  uses  for  cretonne.  But  perhaps  the  main 
thing  we  are  considering  here  is  its  adaptability  to  window 
draperies,  furniture  coverings  and  slip  covers.  And  for  all 
these  things  it  is  admirable.  There  are  thousands  of  patterns, 
and  almost  hundreds  of  fabrics  from  which  to  choose,  from  the 
simple  cotton  print  to  the  hand-blocked  linen  which  is  usually 
classed  as  "cretonne."  But  each  of  these  patterns  and  fabrics 
is  peculiarly  adaptable  to  the  tasks  in  hand.  The  first  thing 
one  should  do  is  carefully  to  consider  the  room  as  a  whole, 
the  type  of  furniture,  the  treatment  of  the  walls,  the  coloring 
and  pattern  of  the  rug,  before  selecting  the  pattern  and  fabric 
to  be  used  in  either  hangings  or  furniture  covering. 

A  few  simple  observations  may  help  here.  If  the  pattern  of 
the  wall  paper  and  rug  is  small,  then  a  large  patterned  cretonne 
may  be  used.    If  the  pattern  of  [  continued  on  page  93  ] 

5.9 


THIS  sketch  of  medieval  Burgundy  was  made  by  George  A.  to  the  imposing  towers,  and  it  depicts  the  castle  of  the  Duke  of 

Picken  in  the  depths  of  Harlem  in  this  year  of  our  Lord,  Burgundy.    The  duke  had  a  daughter,  the  Princess  Mary,  who 

1923.     For  it  is  an  Urban-designed  set  that  will  be  used  in  masqueraded  as  a  burgher  girl,  Yolanda.    It  is  this  part,  so  well 

"Yolanda,"  Marion  Davies'  next  feature  for  Cosmopolitan,  suited  to  her  charming  personality,  that  Miss  Davies  will  por- 

The  scene  is  accurate  in  all  details,  from  the  huge  drawbridge  tray. 

60 


"Robin  Hood"  Wins  Photoplay  Magazine 
1922  Gold  Medal  of  Honor 


Douglas  Fairbanks,  who  con- 
ceived  the   idea   of  "Robin 
Hood,"  produced  the  picture 
and  starred  in  it 


PHOTOPLAY  MAGAZINE'S 
third  gold  medal  of  honor,  for  the 
best  motion  picture  of  the  year 
1922,  has  been  awarded  to 
Douglas  Fairbanks'  "Robin  Hood." 
The  award  was  made  by  the  readers  of 
Photoplay,  thousands  of  ballots  hav- 
ing been  cast  to  decide  the  mooted 
question.  From  the  torrent  of  votes, 
"Robin  Hood"  emerged  a  winner  by  a 
safe  margin. 

The  first  Photoplay  gold  medal  of 
honor  was  given  to  Cosmopolitan  Pro- 
ductions for  "Humoresque,"  adjudged 
the  best  picture  of  1920.    The  winner 
of  the  honor  for  1921  was  "Tol'able 
David,"    produced   by    In- 
spiration Pictures,  Inc. 
"Robin  Hood"  now  finds 
himself   a   member   of   the 
most  distinguished  and  ex- 
clusive gathering  in  the  film 
world. 

When  Photoplay  first 
announced  its  intention  to 
present  a  gold  medal  for  the 
best  picture  each  year,  it 
defined  the  qualifications  of 
a  great  picture  as  a  com- 
bination of  theme,  story, 
direction,  acting,  continu- 
ity, setting  and  photog- 
raphy. It  believes  that  its 
readers,  in  awarding  the 
1922  medal  of  honor  to 
"Robin-  Hood,"  took  all 
these  features  into  consider- 
ation and  displayed  excel- 
lent judgment  and  keen  dis- 
crimination in  making  their 
choice. 

"Robin  Hood"  differed 
from  the  earlier  winners  of 
the  Photoplay  medal  in 
that  it  was  a  super-spec- 
tacle, while  in  the  others  the 
story  was  of  paramount  im- 


•PL-AY  MAGAZih 

rHE  PRODUCTION 


i 


Douglas   Fairbanks   as 
King  Richard  I. 


Robin   Hood    and  Wallace   Beery   as 
in  a  scene  from  "Robin  Hood" 


Allan    Dwan,    who   directed 

"Robin  Hood"  and  to  whom 

goes  a  large  share  of  the  credit 

for  its  great,  success 


portance.  In  spite  of  the  fact  that  a 
dozen  or  more  men  and  women  played 
important  parts  in  the  production  of 
this  picture,  the  credit  for  the  concep- 
tion and  the  execution  of  the  idea  goes 
to  Mr.  Fairbanks.  The  story  of  the 
historic  Earl  of  Huntington,  known  as 
Robin  Hood,  was  adapted  by  Elton 
Thomas,  and  the  scenario  was  pre- 
pared by  Lotta  Woods.  The  stupen- 
dous sets  were  designed  by  Wilfred 
Buckland  and  his  assistants  from  the 
results  of  the  most  painstaking  re- 
search by  Dr.  Arthur  Woods. 

Photoplay  is  proud  to  award  the 
medal  of  honor  to  this  exceptionally 
praiseworthy  picture  and 
proud  of  its  readers  to  whose 
discriminating  taste  the 
award  is  really  due. 

The  Photoplay  Medal  of 
Honor  is  rightly  recognized 
as  the  supreme  mark  of  dis- 
tinction in  the  world  of  the 
motion  picture.  It  is  the 
first  attempt  ever  made  to 
bestow  credit  for  meritori- 
ous work,  to  give  honor 
where  honor  is  due. 

The  Photoplay  Medal  of 
Honor  is  an  award  of  im- 
pressive beauty.  It  is  of 
solid  gold,  weighing  123J--2 
pennyweights.  It  is  two  and 
one-half  inches  in  diameter 
and  is  made  by  Tiffany  and 
Company,  of  New  York.  It 
is  inscribed  on  the  obverse 
side:  "The  Photoplay 
Magazine  Medal,"  and  on 
the  reverse  the  names  of  the 
winning  picture  and  pro- 
ducer. 

The  vote  for  the  next 
medal  will  be  announced  in 
ample  time  for  every  reader 
to  take  advantage. 

61 


The  Romantic 
History 

of  the 

Motion  Picture 


By  Terry  Ramsaye 


This  is  how  the  "Imp 
company  advertised  Mary 
Pickford's  first  independent 
release  after  she  left  Biograph 
and  Griffith.    She  was  just  u  Li 
Mary"  then.  Owen  Moore,  with  whom 
she  is  shoum,  and  Mary  were  secretly 
married  about  this  time 


Chapter  XXI 

THE  glint  of  romance  and  flashes 
of  the  intense  melodrama  of  life 
shine  through  all  the  dusty  an- 
nals of  the  evolution  of  the 
motion  picture.  In  this  chapter  the 
specters  of  love  and  death  and  the  trage- 
dies of  fruitless,  shattered  ambition 
haunt  the  paths  of  progress  toward  the 
screen  of  today. 

Picking  up  the  tangled  skein  of  film 
affairs  again  in  the  now  forgotten  year 
of  1910,  we  find  war  still  the  absorbing 
major  concern  of  the  screen  chieftains. 
It  was  war  to  decide  whether  the  motion 
picture  industry  was  to  be  a  free  field  or 

the  private  and  particular  property  of  the  Motion  Picture 
Patents  Company,  owner  of  every  essential  patented  process 
of  film  making. 

Largely  this  war  was  in  the  courts,  a  dry,  technical  affair  of 
injunctions  and  motions,  complex  beyond  the  understanding 
of  many  of  the  litigants,  a  matter  only  for  the  experts  of  patent 
law. 

But,  fortunately  for  the  interest  of  this  chronicle,  the  biggest 
and  most  vital  of  these  legal  conflicts  brought  with  it  the 
incidental  development  of  some  of  the  most  amazing  dramatic 
sequences  in  all  the  tragedy-bespangled  history  of  the  motion 
picture. 

It  is  an  all  but  unknown  story  that  we  have  pieced  together 
here  from  more  than  a  score  of  obscure  sources,  many  of  them 
far  afield  from  the  obvious  channels  of  motion  picture  informa- 
tion. 

The  Patents  Company  among  its  many  injunction  suits 
against  the  makers  of  films  singled  out  the  "Imp,"  as  Carl 
Laemmle's  Independent  Motion  Picture  Company  was  known, 
for  the  principal  offensive  in  the  patent  war. 

There  was  a  continual  rattle  of  musketry  against  the  smaller 


fry  of  the  independent  field, 
but  the  strong  commercial 
position  and  the  persistent  ef- 
frontery of  the  "Imp,"  with 
its  cartoon  advertisements  and 
ridicule  and  defiance  of  "the 
trust,"  drew  the  fire  of  the 
big  guns  of  heavy  bombard- 
ment. If  the  "Imp"  could 
be  crushed  in  the  courts,  the 
rest  could  be  attended  to  in 
short  order. 

The  fight  on  the  "Imp"  had 
its  legal  and  technical  focus  on 
a  charge  of  infringement  of  the 
"Latham  Loop"  patent.  It 
was  the  slack  film  or  loop,  first 
applied  in  Woodville  Latham's 
picture  machines,  which  en- 
abled the  successful  manipula- 
tion of  long  films.  This  one 
patent  was  definite  and  specific. 
The  Motion  Picture  Patents 
Company  had  many  others, 
but  experience  and  legal  ad- 
vice made  it  seem  advisable 
not  to  risk  some  of  those  other 
frailer  claims  in  the  courts.  A 
whole  series  of  separate  and 
successive  court  actions  were 
brought  against  "Imp»"  but 
they  can  now  be  considered  as  one. 

By  the  autumn  of  1910  the  action  had  reached  a  critical 
point  in  which  basic  evidence  pertaining  to  Major  Latham's 
invention  became  vital.  Parker  W.  Page,  of  counsel  for  the 
Patents  Company,  made  a  search  for  proof  of  the  date  of 
invention  of  the  patent  in  suit.  Turning  through  the  files  of 
the  United  States  Patent  Office  in  Washington,  he  found  that 
the  exhibits  of  papers,  records  and  machines  which  had  figured 
in  the  old  patent  interference  hearings  of  years  before  when 
Latham  was  fighting  for  recognition  of  his  rights  had  dis- 
appeared. 

These  historic  relics  and  now  again  important  pieces  of  legal 
evidence  had  been  delivered  to  the  Anthony  Scovill  Company 
which,  in  time,  as  we  have  seen,  became  the  Ansco  Company, 
of  Binghamton,  N.  Y.  Ansco  sold  the  Latham  patent  to  the 
Biograph  and  the  Latham  records  and  devices  lay  forgotten 
in  a  warehouse  until  one  day  a  janitor,  looking  for  more  room 
for  newer  discards,  burned  the  old  Latham  eidoloscope  and 
papers  in  a  vacant  lot. 

Now  the  only  hope  for  equivalent  evidence  was  in  other 
possible    surviving    relics    and,    perchance,    the    memories    of 


Where  Woodville  Latham,  first  to  project 

motion   pictures,   rests  in   peace  at  last. 

His  funeral  was  his  only  reward  for  his 

discovery  of  the  empire  of  the  screen 


62 


Copyright.  1923,  by  Terry  Ramsay© 


T^VEN  fiction  cannot  equal  this 
chronicle  of  murder  and  suicide; 
of  secret  marriage;  of  rise  to  fame 
and  fortune  almost  over  night;  of 
financial  ruin  in  the  same  brief 
time.  It  is  unbelievable — but  it 
is  true. 


T^ead 


How  "Little  Mary"  was  secretly  married. 

How  Thomas  H.  Ince  became  a  director. 

How  ruin  overtook  Major  Latham,  inven- 
tor of  the  projection  machine. 

How  death  in  violent  forms  came  to  his 
three  sons. 

How  his  daughter-in-law,  a  noted  artist, 
committed  suicide. 

How  "comedy  relief"  always  comes  in-real 
life  as  in  pictures. 


Latham's  relatives.  Some  years  before,  proof  had  been  introduced  of 
Latham's  death  and  that  was  an  accepted  legal  fact. 

Page,  the  attorney,  cast  about  for  relatives  of  the  old  inventor.  He 
employed  Raphael  Netter,  who  had  once  been  a  draughtsman  in 
Latham's  employ,  to  aid  in  the  search.  The  name  of  Latham  had 
become  only  a  legal  memory  in  the  motion  picture  business.  Among 
the  independents  there  was  a  hazy  notion  that  he  was  some  obscure 
foreigner  like  Mr.  Homer,  the  star  of  Homer's  "Odyssey,"  or  Isaac 
Newton,  the  fellow  who  lobbied  through  the  law  of  gravitation. 

Presently  reports  from  the  investigators  came  into  the  offices  of 
Page,  Kerr  &  Cooper,  carrying  an  amazing  tale  of  death  and  disaster 
in  the  Latham  family.     All  of  the  Lathams  were  reported  dead. 

It  was  learned  and  verified  that  Otway  Latham,  youngest  son  of 
Major  Woodville  Latham,  had  been  stricken  with  appendicitis  in  the 
brokerage  office  of  his  brother,  Grey  Latham,  a  few  months  before, 
and  died  that  same  day  on  the  operating  table  in  St.  Luke's. 

And  there  was  a  startling  sequel  to  this  abrupt  termination  of  the 
career  of  the  dashing  youth  who  had  pioneered  motion  picture  showing 
on  the  day  the  screen  was  born.  But  this  was  a  story  that  never  came 
to  court  or  legal  record. 

It  will  be  remembered  from  an  early  chapter  that,  away  back  in  1896, 
Otway  Latham  and  his  bride  of  a  few  weeks,  Natalie,  went  to  Mexico 
City  on  the  first  foreign  picture-making  expedition,  and  there  parted 
in  a  lovers'  quarrel  of  jealousies.  They  never  saw  each  other  from 
that  day,  when' Natalie  left  for  Paris  and  Otway  started  back  to  New 
York  alone. 

Down  in  1910,  when  Otway  died,  the  cables  carried  the  story  to  the 


Here,  is  the  old  "Imp"  company  of  1910-11  when  Mary  Pickford  left  Biograph,  lured,  away  by  the  unheard-of  salary  of  $175  a 
week.     Nearly  every  person  in  this  array  has  become  famous  on  the  screen.    They  are: 


1.  Mary  Pickford 

2.  Owen  Moore 

3.  King.Baggot 


- 


Thomas  Ince  7.  Lottie  Pickford       10.  Mrs.  David  Miles 

Jack  Pickford  8.  Joe  Smiley  1 1 .  Joe  MacDonald 

Isabel  Rae  9.  William  Shay        12.  Hay  ward  Mack 

UK  TonyGivdio 


13.  Mrs.  Joe  MacDonald 

H.  John  Harvey 

15.  George  Loane  Tucker 


16.  David  Miles 

17.  Mrs.  Pickford 

18.  Robert  Daley 

63 


The   Most   Rem  ar\abl  e   True   Story   of 


TOTO  novel  ever  written  contains  more 
of  the  drama  of  life  than  the  remark- 
able story  of  the  Lathams  of  motion 
picture  fame  included  in  this  chapter, 
and  here  told  for  the  first  time. 

This  chapter  delves  deep  into  for- 
gotten romances  and  affairs  of  the 
motion  picture  which  have  remained 
secrets  through  all  the  years  and  in 
spite  of  the  superficial  attentions  of  less 
persistent  investigators  of  screen  his- 
tory. 

You  can  not  understand  the  screen  of 
today  without  a  knowledge  of  what  it 
was  yesterday  and  back  through  all  the 
complicated  yesterdays  which  The  Ro- 
mantic History  of  the  Motion  Picture  is 
unfolding  from  month  to  month.  In 
this  narrative  love  and  death,  triumph 
and  tragedy  ride  side-by-side.  It  is  a 
tale  of  absorbing  interest. 

James  R.  Quirk,  Editor. 


Walterson    R.   Rothacker   founded    the   Industrial    Motion 

Picture  business.     He  had  good  luck  at  precisely  the  right 

time.     There  was  luck  in  the  initials,  I.  M.  P. 


Paris  edition  of  an  American  newspaper,  and  this  paper  found 
its  way  to  the  studio  where  the  beautiful  and  recluse  artist, 
Natalie  Latham,  painted  her  bizarre  pictures. 

For  fourteen  years  Otway  Latham's  bride  had  remained  true 
to  the  memory  of  their  blighted  romance. 

The  morning  that  the  newspaper  came  with  the  New  York 
dispatch  of  her  husband's  death,  she  set  her  studio  in  order. 
She  dressed  with  elaborate  care  and  fixed  her  hair,  just  the 
way  he  had  liked  it  best. 

Then  she  locked  her  doors  and  sat  down  on  a  silk  divan  under 
the  big  studio  window. 

An  alarmed  old  French  caretaker  thought  he  had  heard  a 
shot.     He  ran  clattering  in  his  sabots  after  a  gendarme. 

Natalie  Latham  was  dead  with  the  fatal  newspaper  clutched 
in  her  hand.  This  was  the  end  of  the  romance  that  had 
blossomed  in  New  York  so  long  before.  This  was  the  end  of 
the  heartache  that  started  with  the  parting  in  the  hotel  patio 
down  in  Mexico  City  in  1896. 

The  search  of  the  lawyers  for  Latham  evidence  now  turned 
to  a  hunt  for  Grey  Latham,  Otway's  older  brother.  This  con- 
cluded in  a  few  days  with  the  discovery  that  he,  too,  was  dead. 
It  was  but  a  matter  of  a  few  weeks  after  Otway's  death  that 
Grey  Latham  was  found  dead  on  the  pavement  in  Ninth  street, 
near  Broadway,  one  night.  He  had  been  killed  by  a  blow  on 
the  head  and  his  pockets  had  been  rifled. 

Again  the  investigators  were  sent  out  to  seek  Percy  Latham, 
an  older  son  of  the  Major.  Percy  Latham  had  had  no  direct 
connection  with  his  father's  motion  picture  affairs.  He  had 
made  and  lost  a  fortune  in  the  drug  business  in  the  West  and, 
at  last  reports,  was  employed  as  a  chemist  by  a  New  York 
drug  house.  But,  shortly,  it  was  discovered  that  he  also  had 
come  to  a  tragic  death  at  the  end  of  his  once  prosperous  career. 

Considerably  disconcerted,  the  lawyers  again  turned  to 
Washington,  which  had  once  been  the  Major's  home.  There 
they  at  last  found  some  encouragement.     In  a  directory  they 


found  the  address  of  the  Misses  Ella  G.  Latham  and  Sallie 
Evelyn  Latham,  aged  sisters  of  the  Major. 

S.  S.  Durham  of  the  office  of  Page,  Kerr  &  Cooper,  hastened 
to  see  them. 

"I  would  like  you  to  tell  me  all  that  you  can  about  Major 
Latham's  motion  picture  inventions,"  he  began. 

"Of  course  we  would  be  glad  to  tell  you  anything  we  know," 
came  the  answer,  "but  why  don't  you  talk  to  our  brother  and 
let  him  tell  you  himself?" 

The  lawyer  was  dumfounded. 

"  But — but  he  has  been  dead  for  years!" 

"No,  you  are  mistaken.   He  is  living."  They  were  emphatic. 

"Where?" 

"In  New  York." 

Up  in  116th  street,  in  a  drab  little  furnished  room,  Parker 
W.  Page  found  Major  Latham  eking  out  his  days  in  dire 
poverty. 

While  all  the  breathless  search  had  been  going  on  for  months, 
leading  the  investigators  into  every  corner  of  the  country,  the 
one  man  who  held  the  key  to  all  the  obscurities  of  the  patent 
situation  was  within  ten  minutes  of  80  Fifth  avenue,  the  Patents 
Company's  office. 

Since  1897,  thirteen  unhappy  years,  Major  Latham  had 
been  dead  so  far  as  the  world  of  the  motion  picture  was  con- 
cerned. His  health  was  broken,  his  ambitions  destroyed. 
This  proud  old  man,  a  chivalrous  relic  of  the  old  South,  a  one 
time  valiant  officer  of  the  Army  of  the  Confederacy,  and  a 
scientist  of  repute,  was  ending  his  days  as  a  book  agent.  When 
bright,  sunny  days  came,  he  struggled  out  on  his  wearying 
rounds,  ringing  the  doorbells  of  Harlem.  But  mostly  he  kept 
to  his  room  and  lived,  after  a  fashion,  on  the  tiny  allowance 
that  his  sisters  in  Washington  were  able  to  send  him. 

The  motion  picture  screen  which  he,  first  of  all  men,  had 
brought  into  being  in  his  Frankfort  Street  workshop  in  Jan- 
uary of  1895,  had  grown  up  into  an  industry  of  millions.  Now 
other  men,  men  to  whom  he  was  hardly  even  a  name,  were 
fighting  over  the  millions  of  this  empire  of  the  screen. 

One  can  imagine  what  must  have  been  the  emotions  of  the 
proud  but  broken  old  man,  when  he  trudged  the  streets,  passing 


64 


Film   Romance   and    Tragedy  Ever  V^ritten 


the  countless  garish  and  blatantly  prospering  motion  picture 
theaters  of  1910.  Years  before  he  had  lost  his  last  claim  on 
the  new  art  for  a  mere  thousand  dollars,  borrowed  against  his 
patents,  to  be  loaned  to  his  son  Grey. 

Now  the  motion  picture,  in  the  flush  of  its  riches  and  battles, 
had  forgotten  him — and  he  had  all  but  forgotten  it. 

On  April  25,  1911,  to  the  surprise  and  amazement  of  all  the 
litigants,  Major  Woodville  Latham  in  his  own  proper  person, 
feeble  but  courageously  erect  and  brave  as  in  the  old  days, 
entered  the  courtroom.  He  was  sworn  as  a  witness  and  took 
the  stand. 

For  some  days  he  gave  his  testimony  under  the  examination 
of  Page,  the  attorney,  and  against  the  raking  fire  of  cross  and 
re-cross  examination  by  the  relentless  lawyers  for  the  defendant 
"Imp." 

Major  Latham  stood  the  ordeal  with  fortitude.  His  testi- 
mony, to  be  found  in  the  records  of  the  United  States  District 
Court  for  the  Southern  District  of  New  York,  is  an  example 
of  crispness  and  clarity.  And  here  and  there  the  printed  lines 
carry  the  glow  of  the  Major's  heat  when  he  departed  momen- 
tarily from  the  cold  routine  of  facts  to  defend  himself  and  his 
sons  against  implications  in  the  statements  of  other  witnesses. 

In  a  strict  legal  sense,  the  Motion  Picture  Patents  Company, 
having  acquired  the  Latham  patents  by  due  right  of  purchase 
from  the  Ansco  company,  had  no  obligation  to  the  old  inventor. 
But  even  corporations  have  their  sensibilities  and  emotions. 
The  Patents  Company,  cautiously  phrasing  its  suggestion  to 
avoid  possible  offense  to  proud  Major  Latham,  asked  him  what 
he  required  for  a  living.  This,  at  least,  they  thought  was  due 
him.  His  patent  had,  after  all,  not  yet  passed  through  the 
final  test  of  the  courts,  the  action  then  in  progress.  If,  in  the 
end,  they  triumphed  on  the  basis  of  his  patent,  perhaps  then 
a  substantial  sum  could  be  set  aside  for  him  by  way  of  a  belated 
but  welcome  recognition.  Meanwhile  he  should  be  main- 
tained in  comfort. 


Thomas  H.  Ince,  taken  when  he  was  managing 
director  of  the  Broncho,  Kay-Bee  and  Domino 
films,  and  his  wife,  who  was  Alice  Kershaw.  Mr. 
Ince  was  in  the  old  "Imp"  company  and  Miss 
Kershaw  with  the  Biograph 


George  Loane  Tucker,  a  member  of  the  original  "Imp"  com- 
pany of  1910,  who  later  became  a  famous  director.     His 
greatest  picture  was  "The  Miracle  Man" 


Major  Latham  flushed  and  hesitated.    "I  should  be  able 
to  do  nicely  with  fifteen  dollars  a  week — 
I — I  have  done  with  much  less." 

Gruff  J.  J.  Kennedy,  the  iron  boss  of  the  Patents  Com- 
pany group,  choked  back  an  exclamation. 
"We'll  give  him  twice  that." 

So  Major  Latham  was  paid  thirty  dollars  a  week  there- 
after.     But  the  old  inventor's  stormy  life  was  about  ended. 

He  declined  rapidly 
in  health  and  spirit.  The 
sessions  in  court  had 
given  him  a  glimpse  of 
the  golden  land  of  the 
motion  picture,  which  he 
had  discovered  and  never 
enjoyed. 

Thanksgiving  Day, 
1911,  Major  Latham 
died.  The  Patents  Com- 
pany gave  him  a  funeral. 
Two  years  ago  the 
writer  of  this  history 
went  one  snowy  winter 
day  on  a  lone  pilgrimage 
to  Rock  Creek  Ceme- 
tery, near  Washington, 
D.  C.,  seeking  the  grave 
of  the  tragedy-haunted 
old  pioneer  of  the  screen. 
The  quiet  cemetery 
office  was  empty.  Out 
among  the  graves  in  the 
distance  a  gnarled  old 
grave  digger  was  at  work. 

[  CONTINUED  ON  PAGE  IlS  ] 

65 


CLOSE-UPS 


THE  ARTISTIC  URGE:  Art  is 
individual  expression.  The  creation  of 
a  motion  picture  is  a  collaborative  busi- 
ness, approaching  art  as  it  narrows  to  the 
expression  of  an  individual  artist.  When 
you  consider  the  restrictions  imposed  upon  a 
director  by  the  producing  company,  the  dis- 
tributor, the  exhibitor  and  the  censor,  you 
marvel  that  a  genuine  piece  of  work  ever 
slips  through  the  machinery. 

Charlie  Chaplin  comes  closest  to  being  an 
individual  creator.  He  conceives  his  story, 
produces  it,  directs  it  and  distributes  it.  He  is 
as  free  as  the  laws  of  the  land,  censorship  and 
popular  prejudices  permit.  Thus  the  greatness 
of  "A  Woman  of  Paris,"  with  which  he  de- 
liberately smashes  film  conventions. 

Time  is  another  element  in  its  perfection. 
Chaplin  devoted  eight  months  to  it,  a  period 
few  companies  would  allow  a  director.  For  all 
his  genius  for  picture  story  telling  and  his  com- 


mercial value,  Chaplin  has  had  to  fight  for 
freedom.  Only  a  short  time  ago  he  was  at  the 
mercy  of  the  distributors.  They  have  the 
bartering  talent.  When  a  little  independent 
producer  creeps  out  of  the  West  with  a  picture 
they  look  at  it  in  stony  silence  and  groan  over 
it  until  the  little  producer  gets  so  low  he's  will- 
ing to  sell  for  the  price  of  a  revolver  with  which 
to  commit  hari  kari. 

Chaplin  submitted  one  of  his  finest  and  most 
successful  comedy  gems  to  such  a  group  not  so 
long  ago.  They  looked  at  it  as  though  viewing 
the  final  remains  of  a  relative  who  had  died 
intestate.  When  the  picture  had  been  run  they 
continued  to  sit  in  a  grim  death  watch. 

Finally  the  silence  was  pierced  by  a  shriek. 
"For  God's  sake,"  wailed  the  little  Chariot, 
"why  doesn't  somebody  say  something?" 

The  pallbearers  heaved  ghoulish  sighs. 
"Veil,"  muttered  one  of  them,  "vere's  the 
punch?" 

Charlie  with  hysteric  restraint  turned  upon 
the  company: 

"I'll  knock  off  forty  thousand  dollars  on  the 
price,"  he  shrilled,  "if  you'll  let  me  spit  in  that 
guy's  eye." 

There  you  have  the  reason  for  Charlie's 
greatness  as  an  artist — he  obeys  his  inspira- 
tion, cost  what  it  may. 

The  Hypocrisy  of  Movie  Folk:  You  can't 
trust  any  friend  in  this  business.  For  instance, 
Rex  Ingram,  who  knows  full  well  that  I  am  the 
official  traveling  representative  for  Photoplay, 
wires  me  at  the  moment  of  sailing:  "Am  sailing 
for  Europe  to  work  on  an  assignment  from 
Jimmie  Quirk  to  make  six  pages  of  sketches  in 
London,  Ireland,  and  Cairo." 

False  friend! 

Our  Overstuffed  Screen:  Ernst  Lubitsch,  the 
jovial  little  German  director,  eagerly  praises 
American  pictures  and  players,  but  he  blinks 
in  bewilderment  at  the  way  in  which  we  furnish 
houses  on  the  screen. 

"  I  see  picture  the  other  night  with  room  that 
has  six  pieces  of  furniture  in  line  dis  way  und 
four  pieces  furniture  in  line  dat  way  und — 
My!  My! 

"I  think  houses  here  are  furnished  much 
different  as  in  Europe.     No?    When  I  come 

66 


6?  LONG 

SHOTS 

By  Herbert  Howe 


here  in  Ambassador  hotel  I  see  big  room  full  of 
chairs.  I  think  this  must  be  the  furniture  de- 
partment. I  do  not  wish  to  buy  furniture  so  I 
ask  a  man  where  is  the  hotel?  He  say,  this  is 
the  lobby  of  the  hotel.    I  say,  My!  My!" 

After  Dinner  at  Ernst  Lubitsch' s:  We  had 
just  finished  dinner  at  Ernst  Lubitsch's  home 
in  Beverly  Hills  and  were  comfortably  settled 
with  cigars  when  Ernst  observed:  "In  Europe 
after  dinner  you  go  to  cafe  on  the  boulevard, 
you  have  your  coffee,  you  sip  your  liqueur,  you 
talk  and  listen  to  the  moosic.  Life  in  America 
is  much  different  as  in  Europe?    No?  " 

"Yes,"  chirped  Mabel  Normand.  "And  life 
here  was  much  different  before  prohibition." 

Ja,  verily,  prohibition  has  driven  us  all  to 
drink. 

Tony  to  Follow  Rndie?  After  his  brilliant 
performance  of  Don  Caesar  in  "The  Spanish 
Dancer,"  for  which  he  was  congratulated  by 
Pola  Negri,  Herbert  Brenon  and  officials  east 
and  west,  Tony  Moreno  was  thrust  into  a  light 
comedy  role,  of  the  Wally  Reid  genre,  in  a 
George  Melford  trifle.  Tony  didn't  care  for  it 
and  intimated  as  gently  as  a  Krupp  gun  that 
he  didn't. 

"Because  I  have  Wally  Reid's  dressing  room 
I  suppose  it  follows  that  I  can  play  Wally  Reid 
parts,"  remarked  Tony  ironically.  "Well,  I 
can't.  That  boy  was  too  clever  in  his  line  for 
me,  or  for  anyone." 

Tony  also  made  it  plain  from  the  outset  that 
he  did  not  intend  to  give  screen  imitations  of 


A  Star  Predicts  a  Star 

Upon  advice  of  counsel, 
Miss  Corinne  Griffith,  we 
predict  stellar  glory  for — 


MISS  CLARA  BOW 

Because  she  coruscated  brilliantly 
in  a  bijou  role  of  "Down  to  the  Sea 
in  Ships"  and  because  Miss  Griffith, 
the  star  of  "Black  Oxen,"  in  which 
Miss  Bow  next  appears,  predicts  a 
great  future  for  her. 

NEXT  MONTH 

ANOTHER  DISCOVERY! 


Valentino.  But  I  wouldn't  be  surprised  if  he 
took  it  into  his  head  to  follow  in  Rudic's  foot- 
steps off  screen. 

These  Latin  lovers  certainly  can  light! 

Polo's  Temperament:  Just  before  leaping 
my  snow  white  charger  for  Hollywood  I  made 
a  solemn  vow  that  I  would  learn  the  truth 
about  Pola  Negri's  temperament  and  reveal 
it  to  the  gasping  world. 

Pola  swears  that  before  she  came  to  our 
shores  she  was  a  very  spoiled  girl.  I  regret 
that  I  cannot  vouch  for  the  truth  of  the  lady's 
statement.  When  I  saw  her  in  Berlin  I  felt 
a  greater  exaltation  than  when  I  gazed  upon 
St.  Peter's  in  Rome. 


As  for  Pola's  demonstrations  in  Hollywood, 
one  of  the  most  celebrated  of  her  pyrotechnic 
picnics  occurred  when  she  was  handed  the 
'script  of  "  The  Cheat."  She  read  it  and  gently 
tore  a  hole  in  the  roof  with  it.  The  powers 
were  horrified  at  such  temperamental  rebellion 
and  cajoled  her  back  on  to  the  set.  Now  I 
leave  it  to  you,  after  seeing  "The  Cheat," 
as  to  which  side  was  right. 

As  near  as  I  can  make  out,  impartial  devotee 
of  the  queen  that  I  am,  La  Pola's  gravest 
mistake  was  not  in  .battling,  but  in  compromis- 
ing. She  has  been  a  great  deal  more  tractable 
than  Valentino,  who  stood  for  one  flivver  and 
one  only.  A  great  deal  more  patient  than 
Ernst  Lubitsch  who,  after  seeing  the  queer 
ending  they  had  glued  to  his  "Montmartrc," 
made  in  Berlin  and  starring  Pola,  reeled  off 
the  lot  with  dazed  exclamations  of  Mein  Goltl 
His  contract  was  terminated  as  swiftly  and 
as  amiably  as  possible. 

When  Pola  saw  the  ending  of  "Montmartre" 
in  the  projection  room  she  calmly  announced 
that  she  would  give  battle  in  the  morning. 
Mais  .  .  . 

"It  is  all  so  complex  over  here,"  she  says, 
shrugging  wearily.  "You  must  think  of 
exhibitors,  of  the  Eastern  office,  of  the  censors 
and  of  the  public.  In  Europe  we  were  free. 
We  thought  of  nothing  but  our  work.  We 
did  not  even  have  to  think  of  the  public 
because  we  knew  the  public  liked  us  and  would 
be  interested  in  any  work  into  which  we  had 
put  our  hearts.  Here  you  become  so  tired 
arguing,  arguing,  arguing,  that  you  almost 
give  up." 

Brenon's  Estimate  of  Pola:  Pola  is  much 
happier  now  than  while  posing  for  the  Fitz- 
maurice-Bergere  valentines  known  as  "Bella 
Donna"  and  "The  Cheat."  She  is  a  wild 
and  volatile  Apache  under  Herbert  Brenon's 
direction  in  "Man  Homme  " 

"I  am  in  my  milieu  again,"  she  cried  gaily. 
"This  is  a  character,  not  a  society  woman." 

Mr.  Brenon  declares  she  is  the  greatest 
artist  with  whom  he  has  ever  worked.  "The 
greatest  actress  on  either  stage  or  screen  today. 
And  when  you  understand  her  she  is  the  easiest 
person  in  the  world  to  direct." 

[  CONTINUED  ON  PAGE  114  ] 


1>  ABY  PEGGY,  small  femi- 
*^  nine  runner-up  to  Jackie 
Coogan,  registers  an  emotion. 
It  may  be  joy,  and  it  may  be 
expectation,  and  it  may  even 
be  fear.  Or — taking  the  ruffled 
dress  and  panties  and  the 
snappy  cut-out  sandals  into 
consideration  —  it  may  even 
be    extreme   satisfaction! 


Who  is  the  Most  Beautiful  Woman  on  the  Screen? 


Freulich 


PHOTOPLAY  MAGAZINE  will  ask  its  readers  to  answer 
this  question. 

In  its  January  issue  Photoplay  will  publish  a  special  roto- 
gravure section  containing  the  portraits  of  sixty  beautiful  screen 
actresses.  Photoplay  readers  will  be  asked  to  make  their  choice 
and  to  send  their  ballots  to  the  Photoplay  office.  Each  person  whose 
ballot  bears  the  name  of  the  winner  of  this  contest  will  receive  a 

Chotograph  of  the  screen's  greatest  beauty,  actually  autographed 
y  her.  Remember  this  is  not  to  decide  the  greatest  actress  nor 
the  most  popular,  but  the  most  beautiful  woman  ON  THE 
SCREEN. 

Beauty  may  be  divided  into  two  classes — beauty  and  beauty 
plus  distinction.  There  are  women  of  such  distinctive  beauty  that 
they  rise  above  ordinary  laws  and  establish  new  standards. 

Such  beauties  were  Cleopatra,  Madame  de  Pompadour, 
Pauline  de  Biguicrc  and  Elizabeth  Duchess  of  Hamilton 

Has  the  Rcrcen  today  ;i  beauty  of  this  type? 


Naturally  beauty  cannot  exist  without  harmony  of  features 
but  next  to  this  must  rank  the  expression  of  an  inward  loveliness. 
This  is  particularly  necessary  when  considering  beauty  in  photo- 
graphs where  coloring  cannot  be  the  great  factor. 

There  are  stars  of  the  screen  whose  inward  loveliness  glows 
even  through  their  photographs.  Is  one  of  these  your  choice? 

There  are  beauties  who  remind  one  of  jewels.  There  are  blazing 
diamonds,  deep  colored  glowing  rubies,  vivid  many-shaded  opals 
and  softly  radiant  pearls.  Which  do  you  prefer? 

Many  ideals  of  beauty  have  been  established  by  artists  of  the 
past  and  of  the  present.  In  the  gallery  of  sixty  portraits  which 
Photoplay  will  offer  practically  every  type  is  represented.  The 
readers  of.  Photoplay  have  the  deciding  voice  as  to  which  one 
stands  preeminent  as  the  most  beautiful  woman  of  the  screen. 

Remember,  this  gallery  of  beauties  which  has  never  been 
paralleled  in  any  publication  will  appear  in  the  January  issue  .if 
Photoplay  Magazine. 


Rtchnrrl  Burke 


rjOROTHY  GISH  in  her  best  rol< — being  herself.  That  wistful  torn-boy 
•L,  and  comedienne—  who  plays  even  the  merriest  scenes  with  a  hint  of  pathos. 
And  who  finds  time,  off  stage,  to  he  a    highly   successful    wife  and   home  maker 


f HE  SILVER  CRAZY-QUILT 


"  Stills"  and  Titles 

By 

Ralph 
Barton 


A  Woman  of  Paris 

IF  you'd    like    to    know    what    Charlie 
Chaplin's  like  in  private  life; 
If  you'd  like  to  know  the  oddities  with 

which  his  soul  is  rife; 
If  you'd  like  to  end  the  parley  that  is  cen- 
tered on  our  Charlie, 
You  will  come  extremely  near  it 
If  you'll  just  absorb  the  spirit 
Of  the  realistic  picture  he  has  made. 

In  his  picture,  as  in  life,  every  climax 
peters  out. 

(For  it's  only  in  the  pictures  that  an  evil- 
liver  dies 

With  an  operatic  flourish  and  an  oppor- 
tune ''here  lies," 

While  in  life  an  evil-liver  goes  on  living — 
with  the  gout.) 

It  is  life  devoid  of  high  C's,  stripped  of 
histrionic  crises; 

It  is  Zola  pianissimo, 

A  less  dramatic,  muffled  Poe; 

It  savors  of  Gaboriau, 

With  a  certain  undercurrent  of  the  Chap- 
lin that  we  know. 

Xot  a  single  weeping  close-up, 
That  the  other  movies  dose  up. 
Turns  the  tummies  of  the  faithful  movie 
clients. 

To  offset  this  lack  of  science, 

There  is  Edna — la  Purviance; 

There  is  Menjou — splendid  actor — 

As  the  lady's  benefactor. 

It's  a  trifling  circumstance  if  it's  not  at 

all  like  France — 
It  is  simply  a  depictment  of  the  calm  but 

caustic  strife 
That  we  generally  substitute  for  Tragedy 

in  life. 


Scaramouche 

ON  the  other  hand,  there's  Scaramouche. 
(It  rhymes  with  either  ruche  or  hootch.) 
The  program  says  it  cost  some  billions; 
The  cast  is  reckoned  in  the  millions. 
The  simple  manor  of  the  heiress 
Is  forty  times  as  big  as  Paris. 
In  fact,  enough  was  spent  on  sets, 
On  wigs  and  dresses,  coats  and  pants, 
To  liquidate  the  Allies'  debts 
And  rebuild  devastated  France. 


But,  despite  this  stingy  outlay,  Ingram's 
made  a  contribution 

To  the  list  of  thrilling  films  that  deal  with 
France's  Revolution. 

All  his  mobs  are  amply  frantic,  all  his 
principals  romantic; 

(Twenty  thousand  went  for  beauty-spots 
alone.) 

All  escapes,  however  narrow,  fail  to  har- 
row R.  Novarro, 

Who  is  hostile  to  his  father,  Lewis  Stone. 

(Here   he   showed   a   lack   of   judgment, 
though  the  fault  lay  in  the  plot; 

Lewis  Stone  is  quite  the  most  convincing 
actor  in  the  lot.) 


Then,  there's  pretty  Alice  Terry,  in  the 

epoch's  millinery. 
"Ain't  she  sweet!"  I  hear  the  gentlemen 

a-sighing; 
If  the  ladies  dispute  that,  they  can  blame 

it  on  the  hat — 
Anyway,  that's  only  half  your  money's 

buying : 
For  there's  a  picture  in  the  program  not 

propelled  through  the  projector, 
That  will  set  the  lady  customers  exclaim- 
ing; 
It's  a  photo,  8  by  7,  of  the  modest  young 

director 
That  is  admirably  suitable  for  framing. 


/ 


THE  NATIONAL  GUIDE  TO  MOTION  PICTURES 

The 


THE  SPANISH  DANCER— Paramount 

AFTER  being  wasted  in  "Bella  Donna"  and  "The 
Cheat."  Pola  Negri  comes  back  to  her  own  in  this 
picture.  She  is  again  La  Negri  of  "  Passion."  She  has  shed 
the  veneer  of  sophistication  and  has  reverted  to  the  primitive 
woman  type.  As  the  gypsy  girl  in  this  adaptation  of  "Don 
Caesar  de  Bazan,"  she  gives  a  magnificent  performance. 
She  portrays  almost  every  emotion  conceivable,  and  does 
each  and  every  one  admirably.  Herbert  Brenon,  the 
director,  shares  the  honors.  Tony  Moreno  is  a  lovable 
scapegrace  as  the  hero,  playing  the  role  in  a  dashing,  devil- 
may-care  fashion.  Wallace  Beery  adds  another  to  his  long 
list  of  fine  characterizations  as  the  king  of  Spain.  With  this 
production  Paramount  is  keeping  its  promise  of  bigger  and 
better  pictures. 


ZAZA — Paramount 

GLORIA  SW  ANSON  in  this  picture  definitely  takes  her 
place  among  the  leading  actresses  of  the  screen.  She 
leaves  no  doubt  as  to  her  talent.  Many  liberties  have  been 
taken  with  the  story,  but  the  picture,  while  not  so  dramatic 
and  absorbing  as  the  play,  is  still  extremely  interesting. 
Zaza,  as  played  by  Miss  Swanson.  is  more  like  Kiki,  a  gamin 
of  the  French  stage — childish,  petulant,  given  to  fits  of 
temper,  kicking,  biting,  scratching,  but  always  lovable  and 
fascinating.  The  star  is  at  her  best  in  her  quieter  moments. 
The  production  is  lavishly  mounted  and  the  supporting  cast, 
headed  by  PI.  B.  Warner,  is  exceptional.  Mary  Thurman 
and  Lucille  La  Verne  deserve  special  mention,  as  does  Allan 
Dwan  for  his  careful  and  intelligent  direction.  A  picture 
very  well  worth  seeing. 

72 


Shadow 


A  Review  of  the  J^lew  Pictures 


SCARAMOUCHE— Metro 

THIS  is  one  of  the  great  pictures  of  the  year.  The  French 
Revolution  is  a  big  subject  for  any  motion  picture  direc- 
tor to  tackle.  Mr.  Griffith  did  it  successfully  in  "Orphans 
of  the  Storm,"  and  Rex  Ingram  has  done  it  again,  fully 
as  effectively,  in  "Scaramouche."  Mr.  Ingram  has  rather 
turned  the  Sabatini  novel  upside  down.  The  author  made 
the  French  Revolution  incidental  to  the  love  story.  In  the 
picture  the  love  story  is  the  incidental  part.  As  a  result  of 
this,  the  first  half  of  the  film,  to  those  who  have  read  the 
book,  seems  a  bit  jerky.  But  when  Mr.  Ingram  swings  into 
the  scenes  of  the  Revolution,  the  picture  has  a  wonderful 
breadth  and  sweep.  The  scenes  of  mobs  of  half-crazed  men 
and  Amazonian  women  racing  through  the  streets  of  Paris, 
waving  their  rude  weapons  and  singing  the  "Marseillaise," 
are  marvelously  done.  Nothing  more  striking  has  been  seen 
on  the  screen  than  Daniou  leading  his  terrible  army  to 
attack  the  Tuileries.  The  night  scenes  also,  lighted  by 
bonfires,  are  almost  terrifying.  Mr.  Ingram  has  used  all  his 
great  skill  in  making  this  picture  and  it  is  the  best  thing  he 
has  done  since  "The  Four  Horsemen."  Ramon  Novarro, 
who  plays  the  titlejole,  has  developed  into  an  actor  of  power 
and  charm.  He  is  ideal  for  the  role.  Praise  of  him  in  this 
production  means  even  more  because  he  is  playing  opposite 
such  a  splendid  actor  as  Lewis  Stone.  Mr.  Stone,  as  the 
villainous  Marquis,  gives  a  performance  that  ranks  with  his 
finest.  Alice  Terry  has  little  to  do,  but  she  does  that  little 
well  and  is  always  beautiful.  Special  commendation  is  due 
Mr.  Ingram  for  his  fidelity  in  casting.  Danton,  Robespierre, 
Marat,  the  King  and  Queen,  and  Napoleon  are  all  true  to  life. 
Settings  and  photography  are  remarkably  good. 


SAVES  YOUR  PICTURE  TIME  AND  MONEY 


The  Six  Best  Pictures  of  the  Month 


SCARAMOUCHE 

A  WOMAN  OF  PARIS 

THE  SPANISH  DANCER 


ZAZA 

THE  BAD  MAN 

CAMEO  KIRBY 


The  Six  Best  Performances  of  the  Month 

Ramon  Novarro  in  "Scaramouche" 

Pola  Negri  in  "The  Spanish  Dancer" 

Antonio  Moreno  in  "The  Spanish  Dancer" 

Adolphe  Menjou  in  "A  Woman  of  Paris" 

Gloria  Swanson  in  "Zaza" 

Holbrook  Blinn  in  "The  Bad  Man" 


A  WOMAN  OF  PARIS— United  Artists 

THIS  picture  is  significant  because,  in  its  production, 
Charles  Chaplin  proves  that  he  is  one  of  the  greatest  of 
all  directors.  But  it  is  not  great,  and  it  is  for  the  sophisti- 
cated rather  than  for  a  strictly  family  audience.  Any 
fifteen-year-old  child  who  appreciates  it  should  be  taken 
home  and  spanked.  But  we  do  recommend  it  most  highly 
to  readers  of  Photoplay  who  are  interested  in  the  technique 
of  motion  pictures,  for  in  it  Mr.  Chaplin  has  given  other 
directors  a  post-graduate  course  in  the  use  of  simplicity  for 
the  achievement  of  effectiveness.  Chaplin  wrote  the  story, 
and  you  are  inclined  to  be  angry  with  him  for  not  permitting 
a  good  writer  to  furnish  him  with  a  subject  that  would  have 
been  worthy  of  his  skill  in  direction.  The  critics  have  raved 
about  this  new  revelation  of  Chaplin's  genius,  but  the  truth 
of  the  matter  is  that  he  has  demonstrated  his  peerless 
qualities  in  that  respect  in  dramatic  episodes  in  many  of  his 
comedies.  In  brief,  it  is  the  story  of  a  young  French  girl 
from  a  small  town  who  becomes  the  mistress  of  a  wealthy 
Parisian,  but  who  learns  too  late  that  ''Rags  are  royal  rai- 
ment when  worn  for  virtue's  sake."  As  a  result  of  her 
work  Edna  Purviance  will  probably  be  sought  after  bv  other 
producers,  and  Adolphe  Menjou,  always  a  good  actor,  will 
be  given  the  opportunities  he  has  long  deserved.  Fortu- 
nately Mr.  Chaplin  is  not  to  forsake  the  comedies  which  the 
world  needs.  He  indicated  that  in  his  little  talk  the  night 
the  picture  opened  in  New  York,  when  he  said  he  hoped  the 
public  would  not  take  his  effort  too  seriously.  But  how  we 
would  like  to  see  him  essay  a  serious  role  like  "The  Music 
Master" — once  anyhow.  We  feel  confident  he  would  sur- 
pass any  actor  on  the  stage  or  screen  in  such  a  performance. 


THE  BAD  MAN— First  National 

HOLBROOK  BLINX  is  The  Bod  Man,  just  as  he  was 
upon  the  legitimate  stage.  That's  the  main  reason  for 
the  picture's  charm.  His  murders  are  as  playful  as  his 
robberies  or  his  love  affairs. 

The  plot  deals  with  a  nice  young  man  who  owns  a  border 
ranch  which,  because  of  an  overdue  mortgage,  is  in  a  pre- 
carious position.  Upon  the  date  of  the  foreclosure,  fate 
brings  his  one-time  sweetheart  and  her  rich  cad  of  a  husband 
upon  the  scene.  Adding  a  triangle  to  his  other  troubles. 
And  then — enter  The  Bad  Man.  And  the  troubles  are 
brushed  nonchalantly  aside.  Next  in  line  to  Mr.  Blinn's 
performance  as  Pancho  Lopaz,  the  Mexican  bandit,  comes 
the  work  of  Charles  A.  Sellon  as  Uncle  Henry,  a  querulous 
old  cripple.    The  titles  help,  too — they're  splendid! 


CAMEO  KIRBY— Fox 

A  ROMANCE  of  the  river  boats  that  once  plied  up  and 
down  the  Mississippi,  of  a  man  who  had  forgotten  his 
name  and  his  social  standing  to  become  a  professional 
gambler,  and  of  a  girl  who  gives  his  ideals  back  to  him. 
A  period  seldom  pictured,  packed  though  it  is  with  possi- 
bilities for  both  stage  and  screen. 

Cameo  Kirby  joins  in  a  dishonest  card  game  for  the  sake 
of  saving  the  fortunes  of  an  old  man  who  is  being  fleeced. 
He  wins  everything — with  the  intention  of  giving  it  back 
— but  the  old  man,  not  realizing  his  opponent's  altruism, 
commits  suicide.  And  then  it  turns  out  that  the  orphaned 
daughter  is  the  woman  of  Cameo  Kirby's  heart.  Of  course, 
in  the  end.  she  is  made  to  understand  Kirby's  real  nobility 
of  purpose  and  generosity. 

73 


/ 


GOING  UP— Associated  Exhibitors 

ONE  of  the  most  amusing  comedies  that  has  recently 
come  to  the  screen — the  best  chance  that  Douglas 
MacLean  has  had,  since  he  became  a  star.  The  story  of  a 
novelist  who,  because  his  book  has  to  do  with  flying,  is 
rated  as  an  aviator.  And,  because  the  girl  he  loves  is  mad 
about  aviators,  he  has  to  make  good.  Enough  chuckles,  for 
the  whole  family,  to  fill  three  pictures! 


y 


THUNDERING  DAWN— Universal 


THE  story  of  a  man's  downfall — and  of  his  regeneration 
through  love.  The  scene  is  laid  in  Java  and,  when  the 
island  is  in  the  grip  of  a  typhoon,  there  are  some  very  un- 
usual effects.  There  is  something  tremendous  in  the  giant 
rush  of  water  that  carries  a  whole  town  away.  A  well 
chosen  cast,  headed  by  Anna  Q.  Nilsson  and  J.  Warren 
Kerrigan.     But  not  quite  a  family  picture. 


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THE  FIGHTING  BLADE— First  National 

T'S  difficult  to  put  over  a  picture  in  the  Cromwellian 
period.  It's  hard  for  the  average  actor  to  look  manly  in 
satins  and  plumes!  Richard  Barthelmess,  as  the  gallant 
swordsman  who  joins  the  forces  of  Parliament  for  the  sake  of 
a  woman,  does  as  well  as  could  have  been  expected.  The 
love  scenes  are  the  best,  by  far.  And  the  torturing  of  Von 
Kcrstcnbroock  gives  a  chance  for  a  fine  bit  of  acting. 


THE  HUNTRESS— First  National 

A  YOUNG  girl,  brought  up  by  a  band  of  Indians, 
suddenly  learns  that  she  is  white  and  goes  in  search 
of  an  equally  white  husband — using  Indian  methods. 
The  lady  has  a  temper  and  knows  how  to  use  her  fists,  and 
her  feet,  when  she  meets  a  party  of  adventurers.  Good 
comedy  and  excitement — with  Snitz  Edwards  giving  one  of 
the  month's  performances  as  an  old  brave. 


COLUMBUS— Pat  he 

THIS  should  be  invaluable  to  children  who  are  studying 
history.  For  it  pictures,  very  truly,  the  struggles  of  the 
brave  mariner  who  discovered  America.  It  is  the  first  of  a 
Neries  of  30  pictures  of  American  history,  sponsored  by  the 
Yale  University  Press,  and  it  marks  a  stride  ahead  in  the 
non-theatrical  field.  The  pictures  are  based  on  Professor 
Johnson's  "  Chronicles  of  America."    For  the  grown-ups,  too. 

74 


THE  MARRIAGE  MAKER— Paramount 

CHARLES  DE  ROCHE  walks  away  with  this  picture— 
despite  the  fact  that  Jack  Holt  and  Agnes  Ayres  are  the 
featured  players.  The  story  is  a  fantastic  one  of  a  faun 
who  leaves  his  mythical  Roman  garden  to  teach  mortals 
a  lesson — that  they  should  follow  their  natural  impulses 
and  emotions.  Needless  to  say  he  succeeds — the  average 
mortal  requires  all  too  little  encouragement! 


THE  ETERNAL  THREE— Goldwyn 

NOT  a  great  picture,  but  an  extremely  interesting  version 
of  the  old  story,  and  worth  your  evening  because  of 
the  way  that  Marshall  Neilan  has  produced  it.  Ray  Griffith 
and  Hobart  Bosworth  do  excellent  work,  and  Claire  Windsor 
is  delightful  to  look  at  as  always.  Neilan  comes  near  out- 
doing Cecil  De  Mille  in  picturized  versions  of  millionaire 
bachelor  parties  with  wild  women. 


S 


THE  RIGHT  OF  THE  STRONGEST— Zenith 

FRANCES  NIMMO  GREENE'S  novel  of  the  Alabama 
hill  country  picturized  with  E.  K.  Lincoln  as  the  engineer, 
and  a  strong  cast  of  favorites  including  Helen  Ferguson. 
Faithfully  and  entertainingly  produced,  it  combines  the 
careful  characterizations  of  "Driven"  with  a  regular 
Dempsey-Firpo  battle  between  Lincoln  and  George  Seig- 
mann  that  is  reminiscent  of  "The  Spoilers." 


! 

VI 

LIGHTS  OUT— Film  Booking  Offices 

A  MELODRAMA  of  the  underworld  and  the  movies — 
with  an  extremely  clever  idea  back  of  it,  and  more  than 
its  share  of  suspense.  This  picture  marks  the  return, 
to  the  screen,  of  Ruth  Stonehouse — who  does  very  well  in 
1  he  role  of  Hairpin  Annie,  a  lady  who  makes  her  living  by 
picking  locks.  How  a  crime  is  exposed,  and  the  criminal 
brought  to  justice,  through  the  medium  of  a  serial  picture. 


MONNA  VANNA—Fox 

EVER  since  the  unpleasantness  that  started  in  1914, 
Germany  and  Belgium  have  refused  to  mix.  Perhaps 
that  is  why  this  ambitious  German  translation  of  Maeter- 
linck, the  Belgian,  is  so  unsatisfactory.  Lee  Parry  is  attrac- 
tive but  the  actors  are  too  heavy  and  Teutonic  for  American 
taste,  and  the  ancient  feud  becomes  so  boresome  in  this 
version  that  you  wish  the}-  would  all  kill  each  other  off. 


THE  CALL  OF  THE  WILD—Pathe 


THOUGH  not  as  arresting  as  some  of  the  dog  pictures  that 
we  have  witnessed,  the  work  of  Buck,  the  magnificent 
St.  Bernard,  seems  nearly  perfect.  And  the  snow  scenes, 
in  the  far  north,  are  very  lovely.  The  plot  follows  quite 
faithfully,  in  spots,  the  famous  story  by  Jack  London. 
And  the  cast — with  Walter  Long  as  the  villain,  and  Jack 
Mulhall  as  the  hero — is  good.     For  the  family. 


THE  RAMBLIN'  KID— Universal 

A  STORY  of  rodeos  and  the  great  west.  With  quite 
some  riding  and  excitement.  Incidentally,  the  lovely 
heroine  does  some  of  the  riding — with  the  hero  as  her 
innocent,  victim.  She  thinks  him  guilty  of  violating  the 
eighteenth  amendment,  and  there's  the  dickens  to  pay  until 
his  innocence  is  proved.  Hoot  Gibson,  as  usual,  has  some- 
thing real  to  offer.  [  continued  on  page  102  ] 

75 


Nervous  Prosperity  6?  Klieg  Eyes 

These  are  the  most  prevalent  diseases  in  the  motion 
picture  industry,  says  Dr.  William  Engel,  who  has  treated 
more  movie  folk  than  any  other  physician  in  the  world 

By  Dr.  William  Engel 


ON  numerous  occasions  people  have  asked  me  what  my 
specialty  is  and,  somewhat  facetiously,  I  invariably 
answer  that  I  am  a  motion  picture  specialist. 
This  usually  produces  a  laugh;  but  the  truth  of  the 
matter  is  that  I  have  probably  attended  to  the  physical  wants 
of  more  people  connected  with  the  motion  picture  business  than 
any  other  physician  in  the  world.  I  say  this  in  due  modesty,  as 
I  have  treated  from  time  to  time  during  the  past  fourteen  years 
actors,  actresses,  producers,  directors,  motion  picture  magazine 
editors  and  writers,  publicity  men,  camera  men,  carpenters, 
electricians,  advertising  managers  and  newspaper  writers,  all 
associated  with  the  picture  industry. 

From  the  beginning  of  my  acquaintance  with  people  con- 
nected with  the  motion  picture  industry  I  have  found  that  they 
are  not  only  human,  but  that  they  are  normal  in  every  respect, 
except  in  the  tremendous  interest  which  they  show  in  their  work. 

While  I  am  supposed  in 
this  interview  to  tell  you 
what  I  think  of  people  in 
the  motion  picture  profes- 
sion from  the  viewpoint  of 
a  physician,  I  am  taking 
advantage  of  this  oppor- 
tunity to  say  that  I  believe 
that  there  is  no  single  pro- 
fession the  people  of  which 
are  misunderstood  more 
than  those  in  the  motion 
picture  business. 

A  physician,  like  a 
priest,  is  very  often  the 
friend  and  father  confessor 
of  his  patients,  and  in  my 
relationship  with  people  in 
the  picture  industry  I  feci 
that  I  know  them  as  well 
as  anyone  can;  and  after 
fourteen  years  of  associa- 
tion with  them  I  admire 
them  tremendously,  not 
only  for  their  stoical  atti- 
tude toward  pain  and  ill- 
ness, but  also  for  their 
charity,  their  industry, 
their  sincerity  and  their 
devotion  to  their  art. 

If  I  were  asked  if  there 
is  any  particular  disease  or 
illness  which  is  peculiar  to 
the  motion  picture  indus- 
try, I  should  say  that  there 
are  two — one  being  Klieg 
eyes,  which  affects  all 
people  who  are  connected 
with  the  actual  making  of 
pictuies,  and  the  other  is 
what  I  have  chosen  to  call 
"Nervous  Prosperity," 
which  affects  the  people 
who  have  to  do  with  the 
financing  and  distribution 
of  pictures. 

Klieg  eyes  is  a  term  ap- 
plied to  an  inflammation 

76 


Dr.  William  Engel,  the  "motion  picture  specialist" 
from  a  painting  made  during  his  army  service 


of  the  eyes  as  a  direct  result  of  an  exposure  to  the  lights  which 
are  used  in  studios.  The  result  of  these  intense  lights  is  a  very 
severe  inflammation  of  all  of  the  exposed  parts  of  the  eye, 
which  is  excruciatingly  painful. 

Nervous  prosperity  is  self-explanatory  and  is  the  result  of 
quickly  acquired  fortunes  and  an  overwhelming  amount  of 
business  activity,  together  with  financial  worries,  and  is 
responsible  for  a  long  list  of  medical  ailments  which  are  too 
numerous  to  mention. 

The  motion  picture  actors  and  actresses  have  always  appre- 
ciated the  value  of  health  in  their  work,  and  many  of  them  have 
retained  me  on  the  so-called  Chinese  system — to  keep  them 
healthy.  Like  successful  people  in  all  walks  of  life  the  motion 
picture  success  of  today  is  sufficiently  intelligent  to  take  means 
of  preventing  the  so-called  preventible  diseases  and  also  to  live 
normal,  healthy,  hygienic  lives  so  that  they  can  give  the  best 

that   is  in  them  to  their 
work. 

Besides  treating  actors 
and  actresses  for  the  ordi- 
nary ailments  to  which  the 
normal  individual  is  sub- 
ject, I  have  also  done  some 
very  interesting  and 
gratifying  work  in  keeping 
them  looking  fit.  Along 
these  lines  I  have  had  to 
remodel  faces,  remove 
corpulent  abdomens,  large 
hips,  fleshy  arms,  etc.,  and 
it  has  been  my  experience 
that,  the  more  successful 
the  actor  or  actress,  the 
more  particular  he  or  she 
is  about  appearance. 

The  average  person  will 
be  surprised  to  know  that 
most  of  the  successful 
people  in  all  branches  of 
the  motion  picture  profes- 
sion either  have  gymna- 
siums in  their  homes,  or 
handball  courts,  tennis 
courts,  swimming  pools 
and  even  golf  courses  on 
their  private  estates, 
where  they  keep  them- 
selves in  good  physical 
condition.  Those  who 
cannot  afford  these  lux- 
uries patronize  gym- 
nasiums and  other  public 
places  where  they  can  keep 
their  bodies  in  condition 
to  fit  them  for  the  tremen- 
dous volume  of  work  which 
they  all  do.  A  great  many 
of  my  friends  in  the 
motion  picture  industry 
employ  a  physical  trainer, 
who  gives  them  at  least  a 
half-hour's  workout  every 
morning  before  they  start 

[  CONTINUED  ON  PAGE  103  ] 


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ERIC  VON  STROHEIM  took  a  company 
of  people  into  Death  Valley,  during  the  mid- 
dle of  summer,  against  the  advice  of  all  natives 
and  travellers,  to  photograph  the  ending  of 
Frank  Norris'  "McTeague,"  which  is  to  be  re- 
leased under  the  title  of  "Greed." 

There  is  no  doubt  that  the  expedition  was 
full  of  hazard,  the  greatest  hardship  and  dis- 
comfort. No  other  location  ever  made  prob- 
ably came  so  close  to  the  border  line  of  real 
danger  for  everyone  involved.  The  desert 
sink,  absolutely  without  water  and  filled  with 
poisonous  reptiles  and  dangerous  sands, .  has 
been  the  end  of  many  an  adventurous  explorer. 
But  von  Stroheim  and  his  party  came  out, 
lean  and  very  brown,  but  safe. 

"Why  did  you  do  it?"  he  was  asked  at  a 
luncheon  given  in  his  honor  shortly  on  his  re- 
turn. "Couldn't  you  have  gotten  the  same 
effects  right  in  the  studio,  or  up  at  Oxnard  or 
somewhere  easier?  " 

"No,"  said  von  Stroheim,  "I  couldn't.  How 
could  I  ever  have  achieved  the  look  in  those 
two  men's  faces,  if  they  hadn't  been  out  there, 
right  in  the  spot,  in  actual  danger,  exposed  to 
the  terrible  sun,  knowing  what  it  was  to  have 
only  a  little  water  in  canteens  between  us  and 
— many  unpleasant  things?  I  wanted  them  to 
get  the  actual  tan  of  the  desert,  deepening  day 
by  day,  which  no  make-up  artist  could  achieve. 
I  wanted  them  to  get  the  strain  in  the  eyes,  the 
horror  on  the  lips.  I  got  something  real,  terri- 
bly real,  and  I  believe  it  means  everything  to 
my  picture." 

Well,  you  have  to  hand  it  to  von  Stroheim 
that  he  was  willing  to  face  the  dangers,  too,  in 
order  to  get  it. 

MRS.   Harold  Lloyd  is  to  return   to   the 
screen,  after  all.     You   remember   when 
little  Mildred  Davis  married  the  famous  come- 
rs 


GoSSip- 
East  &  West 

By  Cal  York 


dian  less  than  a  year  ago,  she  retired  as  her 
husband's  leading  woman  and  declared  she  was 
through  with  pictures.  She  was  going  to  be 
just  a  wife.  In  fact,  it  was  understood  that 
Harold  insisted  and  that  she  refused  to  marry 
him  for  some  time  because  of  that  condition. 
Now,  Harold  has  decided  he  was  too  hard 
hearted. 

One  night  he  came  home  and  said,  "Mid,  I 
don't  want  to  stand  in  your  way.  It's  a  shame 
to  take  your  work  and  your  success  away  from 
you,  and  so  if  you  want  to  do  more  pictures,  it's 
all  right  with  me." 

And  the  very  first  offer  she  had  was  to  go  to 
Italy  to  do  two  pictures  with  Rodolph  Valen- 
tino. 

Harold  was  adamant  about  that.  "If  there's 
going  to  be  any  Sheik  in  this  family,"  he  told 
his  pretty  bride,  "I'll  be  it.  I  may  not  look 
the  role,  but  I'm  going  to  be  it,  just  the  same." 

So  Mid  refused  to  be  Mr.  Valentino's  lead- 
ing lady  and  instead  will  return  to  the  screen  in 
an  all-star  comedy  drama,  with  Edward  Hor- 
ton  opposite  her. 


The  banquet  scene  from  "  The  Eternal 
City,"  o?ie  of  the  finest  examples  of 
grouping  and  lighting  ever  shown. 
Note  Barbara  La  Marr  with  Lionel 
Barrymore  on  one  side  and  Bert 
Lytellon  the  other.  Arranged  and  -pho- 
tographed by  Alfred  Cheney  Johnston 


WHEN  Charles  Spencer  Chaplin  goes  on  a 
vacation  he  doesn't  like  to  be  bothered — 
not  by  anybody.  He  doesn't  often  have  a 
vacation,  and  when  he  gets  one  he  likes  to 
spend  it  in  his  own  way.  That's  why  it  upset 
him,  when  he  was  sitting  on  a  raft,  somewhere 
off  Catalina  Island,  to  have  four  little  mer- 
maids bob  up,  out  of  the  briny  deep,  and  insist 
upon  meeting  him.  They  didn't  want  to  get 
on  the  screen — that  helped,  some.  But  they 
did  want  to  meet  one  of  its  most  glamourous 
personages,  when  they  had  a  chance! 

Charles  Spencer  didn't  want  to  meet  the 
mermaids — who  proved  to  be  sub-debs  of  the 
most  romantic  sort.  But  he  bowed  to  the 
inevitable.  And,  when  the  mermaids  boarded 
his  raft  he  invited  them  to  dine  with  him. 

At  the  dinner  party  the  four  insisted  upon 
talking  love  and  adventure  and  chivalry.  And 
so  Charles,  to  cure  them,  put  on  his  most  cyni- 
cal manner  and  his  most  woe-begone  expres- 
sion. Nobody  in  the  whole  world  can  be  as 
pessimistic  as  the  stellar  Mr.  Chaplin— when 
he  wants  to  be!  By  the  time  the  sub-debs  had 
reached  their  demi-tasse  they  were  on  the 
verge  of  tears — with  all  of  their  illusions  shat- 
tered. Whereupon  C.  S.  C.  delivered  them  to 
four  waiting,  and  slightly  apprehensive  mam- 
mas, and  spent  the  rest  of  the  evening  gaily 
dancing  with  a  couple  of  very  decorative  pic- ' 
ture  actresses.    And  that's  that. 


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jorjKltadyb  vKod&rrfwmmb 


ToseJby 

JCola  Chetke 

of 

Vo  nitres 

of  1923 


<yL 


T  LAST'  Underthings  of  beauty  and  irresisti- 
ble charm  designed  to  fill  the  needs  of  the 
woman  of  today.  Underthings  that  conform  to  the 
dictates  of  that  delightful  tyrant  Fashion,  at  the 
same  time  giving  real  comfort,  and  long  and 
satisfactory  wear 

T)o  you  know  "Vanitisilk" 

The  most  beautiful  and  practical  glove  silk  made  is 
"Vanitisilk" — a  Vanity  Fair  fabric  creation  and  found  ex- 
clusively in  Vanity  Fair  garments.  The  lovely  shadow 
striping  in  this  fabric  will  delight  you  and  you'll  find  that 
you  simply  can't  wash  its  length  away.  In  addition  to 
"Vanitisilk"  there  are  four  weights  of  glove  silk  in  which 
Vanity  Fair  garments  may  be  obtained 

We  will  gladly  send  you  the  name  of  the  nearest  dealer 
if  you  will  send  a  postcard  to  the  Vanity  Fair  Silk  Mills, 
Reading,  Pa. 


The  tremendous  ly  popular  Pettiskirt 
answers  the  petticoat  question.  The 
shadow-proof  hem  which  almost 
reaches  the  hips  makes  it  hang  well 
and  permits  it  being  worn  under  your 
sheerest  evening  frock. 


The  Pettibocker  originated  by  Vanity 
Fair  is  for  sports  and  general  wear 
Slim  and  trimly  tailored  with  two 
extra  inches  in  the  length  and  two  in 
the  width  to  insure  comfort  and 
freedom. 


'  The  Brand  You  Know 
by  the  Cameo" 


yanltif 


mr 


SlIIbK,      ONDERTOEAR 

AND  HOSIERS 


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brought  one  hundred  and  fifty  ^lits  of  clothes 
back  to  the  village  with  him.  He  had  more 
clothes  than  all  the  rest  of  the  town  put  to- 
gether. People  rushed  up  to  him,  as  he 
descended  from  the  car,  and  felt  the  cloth  of  his 
coat,  his  trousers.    Another  great  moment. 

A  1. THOUGH  ever  so  many  people  have  ad- 
■**-vised  against  it,  Lillian  Gish  announces  that 
she  will  appear  in  the  title  role  of  Mark  Twain's 
"Jeanne  d'  Arc."  There  is  no  doubt  that  Miss 
Gish  has  all  of  the  emotional  ability,  the  in- 
spiration and  the  finesse  that  is  needed  to  por- 
tray the  Maid  of  Orleans — but  it  has  been 
pointed  out  that  Jeanne  was  a  hardy  peasant 
girl — whereas  Lillian  can,  at  best,  be  referred 
to  as  fragile.  However,  the  lady's  mind  is 
made  up,  and  as  soon  as  "  Romola  "  is  finished 
— Lillian  and  her  sister  Dorothy  are  making 
this  picture  in  Italy — a  company  will  go  to 
France  to  begin  production  there. 

One  cannot  help  wondering  how  the  Jeanne 
of  Miss  Gish  will  measure  up  to  the  fiery  and 
robust  performance  that  was  given,  some  years 
ago,  by  Geraldine  Farrar.  That  picture  was  a 
milestone,  in  many  ways — and  Miss  Farrar 
looked  the  part,  and  was  a  superb  actress,  too. 
Will  the  art  of  Lillian  Gish  be  great  enough  to 
surmount  the  physical  discrepancy? 

NO  one  was  supposed  to  know  when  Mrs. 
Wallace  Reid  slipped  quietly  into  the 
Hospital  for  Wounded  Veterans,  and  the  con- 
valescent homes  of  the  American  Legion,  and 
distributed  Wally's  enormous  wardrobe  to  the 
boys.  Everything,  except  the  few  personal 
gifts  to  Wally's  intimate  friends  who  wanted  to 
have  something  of  his  to  remember  him  by, 
went  to  the  service  men  who  needed  assistance 
— and  they  were  so  delighted  with  the  gifts, 
that  they  told. 


Norma  Talmadge  has  a  portable 
dressing  room  that,  can  be  raised  on 
wheels  and  propelled  all  over  the 
studio,  or  lot.  Like  a  wee  house,  it  is, 
and  the  satin-hung  walls  speak 
eloquently  of  a  charming  and  dainty 
owner 


'"PHE  romancers  are  predicting  the  engage- 
•*■  ment  of  Charles  de  Roche  and  Estelle  Tay- 
lor. They  are  seen  together  regularly.  De 
Roche,  by  the  way,  has  become  very  popular  in 
Hollywood,  where  he  is  listed  as  one  of  the 
"regular"  guys. 

TT  would  seem  that  Pearl  White  might  have 
-•■lost  weight,  this  past  year.  Goodness  knows, 
she's  had  more  than  her  share  of  troubles. 


What  with  suffering  a  nervous  breakdown,  re- 
tiring to  a  convent  for  the  sake  of  her  tortured 
soul,  and  being  pursued  all  over  the  face  of 
France  by  a  hectic  count — who  was  wildly  in 
love  with  her — she  certainly  had  adventures 
enough  to  make  her  a  mere  shell  of  her  former 
healthy  self.  But,  believe  it  or  not,  Pearl  did 
not  reduce.  In  spite  of  her  many  problems 
and  perplexities  she  managed  to  gain  a  number 
of  pounds.  So  many,  in  fact,  that  Edward 
Jose — who  directs  her  next  production,  which, 
by  the  way,  is  sponsored  by  a  large  French  dis- 
tributing company — ordered  her  to  reduce. 
And  to  reduce  at  once,  by  rapid  and  efficient 
methods.  Placing  the  pearl  of  serial  queens 
upon  a  set  of  white  enameled  bath-room  scales, 
he  tore  at  his  hair  and  used  many  expressions 
of  Latin  frenzy. 

"But  it  is  too  much,"  he  shrieked,  when  he 
had  cxhau.-tcd  the  warmer  of  the  expletives, 
"Such  embonpoint!  I  cannot  fit  you  into  the 
film!  Eet  is  terrible!  You  are  ten  pounds 
more  than  you  were  a  year  ago!" 

Pearl  joined  into  the  conversation,  at  that 
point.  But,  in  the  end,  she  submitted  to  rea- 
son. And  she  is  now  off,  somewhere,  getting 
thinner  and  thinner. 

The  picture,  by  the  way,  is  a  mystery  melo- 
drama, and  is  to  be  made  in  Paris,  the  South  of 
France,  and  in  Northern  Africa.  The  author 
of  the  story  is  Felix  Orman — who  was  con- 
nected with  the  production  of  the  London- 
made  picture  version  of  Locke's  "Beloved 
Vagabond." 

("CHARLIE  CHAPLIN'S  customary  saluta- 
^— 'tion  of  Viola  Dana  is:  "Anything  laying 
around  the  house?" 

Vi  has  gone  in  for  raiding  chickens  and  rab- 

[  CONTINUED  ON  TAGE  84  ] 


■■^■■■■i 


ALMOST  swamped  with  mail,  Photoplay  is  struggling  bravely  to  determine  the  winners  of  our  cut 
puzzle  contest.  The  accompanying  picture  gives  a  faint  idea  of  the  amount  of  answers  received. 
The  winners  will  be  announced  in  the  January,  issue  of  Photoplay.  Over  30,000  solutions  were 
received,  and  a  score  of  clerks  and  stenographers  have  been  busy  for  weeks  under  the  direction  of 
the  Editor,  making    every  possible    effort  to  give  every  single   solution  the  utmost  consideration. 


Photoplay  Magazine — Advertising  Section 


Gifts  <Tka£Jj[Ls£ 


Whiting  &  Davis  Mesh 
is  used  in  the  beautiful  mesh 
scene  n  Irving  Berlin's  New  Music  Box  Revue, 
staged  by  Hassard  Short  and  presented  by  Sam  H. 
Harris  at  the  Music  Box  Theatre  in  New  York. 


No  Christmas  gift  touches   the 
and  so   surely   as    a   beautiful 

She  will  treasure  it  for  the  exquisite  loveliness 
of  its  shimmering  beauty  and  the  air  of  refined 
elegance  and  smart  correctness  it  imparts  to 
her  costume  on  all  occasions — Opera,  Dance, 
Wedding.Street,  Business — anywhere.  And  she 
will  love  its  every  day  companionable  usefulness. 


Hand  engraved  Solid  Silver 

Mesh  Bag  with  beautiful  hand 

worked  Renaissance  Fringe — above  pictured. 


heart  of  a  woman  so  appealingly 
Whiting    <Sl    Davis   Mesh   Bag. 

Make  your  selection  now  while  jewelers  and 
jewelry  departments  have  the  most  complete 
stock  of  the  new  and  alluring  holiday  designs. 
There  is  a  charming  Whiting  &.  Davis  Mesh 
Bag  for  every  type  and  age — even  for  the 
little  girl.     Prices  range  from  $5.00  to  $500.00. 


WHITING  &  DAVIS  COMPANY 

Plainville,  Norfolk  County,  Mass. 

In  Canada,  Sherbrooke,  Que. 


Created  and  Made  in  America. 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


84 


Photoplay  Magazine — Advertising  Section 


Cook  Books 
are  enemies 


Gossip — East  and  West 

[  CONTINUED  FROM  PAGE  82  ] 


of 
teeth  and  gums 

THE  DENTISTS  of  the  United 
States  are  engaged  in  a  daily- 
struggle  against  the  cooks. 

For  the  most  delicious  conceits  of  the 
cook  books  are,  in  general,  exactly  the  kind 
of  food  that  is  doing  the  greatest  harm  to 
teeth  and  gums. 

Soft  and  creamy,  the  food  which  you 
eat  daily  does  not  give  one-tenth  the  stim- 
ulation— the  exercise  which  rough,  coarse 
food  once  gave. 

Does  your  tooth-brush 
"show  pink"? 

Lacking  stimulation,  lacking  a  good 
healthy  circulation  of  blood,  gums  are 
growing  less  robust,  and  tooth  troubles, 
traceable  to  the  gums,  are  increasing  all 
the  time. 

Dental  authorities  are  not  insensible  to 
this  condition.  Today  they  are  preaching 
and  practicing  the  care  of  the  gums  as 
well  as  the  care  of  the  teeth.  Thousands 
of  dentists  have  written  us  to  tell  how 
they  combat  soft  and  spongy  gums  by  the 
use  of  Ipana  Tooth  Paste. 

In  stubborn  cases,  they  prescribe  a  gum- 
massage  with  Ipana  after  the  ordinary  cleaning 
with  Ipana  and  the  brush.  For  Ipana  Tooth 
Paste,  because  of  the  presence  of  ziratol.  has  a 
decided  tendency  to  strengthen  soft  gums  and 
keep  them  firm  and  healthy. 

Ipana  is  a  tooth  paste  that's  good  for  your 
gums  as  well  as  your  teeth  Its  cleaning  power 
is  remarkable  and  its  taste  is  unforgetably  good. 
Send  for  a  trial  tube  today. 

IPANA 

TOOTH  PASTE 

—made  by  the  makers  of  Sal  Hepatica 

In  generous  tubes, 

Bristol-  jmt               ntalldrueand 

r  V<\P^5^V  department 

Co-  X     F^k\.    stores  — 50c. 

51  Rector  St.  yfW/ 
New  York, 
N.Y 

Kindly  send  me 

a  trial  tube  of 

IPANA   TOOTH 

PASTE    without        ^H^T/'         vS  f^ 

charge  or  obligation  on     ^Sjibl     <!r^J'* 

my  part  ^\\wS^    V*S 

Name ^f^       <^ 

State V^rfrK^ 


bits.  She  has  bought  up  a  block  of  ground  for 
the  purpose  and  reads  the  poultry  journals 
with  all  the  avidity  of  old  Si  Perkins. 

Yi  also  takes  all  the  automobile  trade  papers. 
She  lias  a  garage  on  Hollywood  boulevard  with 
her  chauffeur  installed  as  manager. 

Recently  she  signed  a  contract  with  Metro 
for  a  salary  around  $75,000  a  year.  All  in  all. 
Yi  is  ekeing  out  a  very  decent  livelihood. 

r^ORINNE  GRIFFITH  has  bought  a  house 
^-'in  Hollywood  and  is  planning  to  settle  down 
permanently  in  the  West,  much  to  the  delight 
of  everyone  in  Hollywood.  She  says  that  as 
soon  as  she  can  get  her  new  dining  room  furni- 
ture she's  going  to  give  a  lot  of  dinner  parties, 
too.  Her  stunning  new  dark  blue  limousine 
has  just  arrived. 

Very  naively,  Corinne  remarked,  "I  wanted 
a  French  car  but  I  found  out  they  hadn't  any 
second  hand  value." 

In  the  meantime,  young  Walter  Morosco 
continues  to  be  her  escort  upon  all  occasions, 
and  now  that  she  has  secured  a  quiet  divorce  in 
Texas  from  her  husband,  Webster  Campbell, 
Hollywood  is  beginning  to  speculate  as  to 
whether  she  has  selected  young  Morosco  for 
her  second  matrimonial  venture. 

CONRAD  NAGEL,  as  you  know,  has  been 
selected  to  play  Paul  in  Elinor  Glyn's 
"Three  Weeks."  And  after  the  announce- 
ment was  made,  every  time  Madame  Glyn 
looked  at  Conrad,  she  gave  a  little  shudder  and 
buried  her  face  in  her  hands.  All  of  which 
amused  poor  Conrad  immensely.  There  was  a 
great  deal  of  difficulty  in  casting  the  role,  and 
Conrad  wasn't  Madame  Glyn's  choice,  nor  was 
the  part  Conrad's  choice.  Probably  he 
wouldn't  be  anybody's  choice  for  Paul.  But, 
as  always,  he'll  give  an  acceptable  and  inter- 
esting performance,  though  he  may  not  be 
exactly  the  Paul  of  the  book. 

I  wonder  if  Conrad  is  ever  going  to  have  the 
sort  of  roles  in  which  he  would  shine?  It  does 
seem  such  a  shame  that  this  able  actor,  with 
his  fine  interpretations  and  his  intellectual 
appeal,  should  continually  be  buried  in  the  sort 
of  thing  that  any  good-looking  extra  man 
could  play. 

THIS  magazine  offers  its  most  sincere  sym- 
pathy to  the  De  Mille  brothers,  William 
and  Cecil.  They  have  just  suffered  the  loss  of 
their  mother,  Beatrice  M.  De  Mille.  Indeed, 
with  her  passing  the  whole  theatrical  world  has 
suffered  a  loss.  Mrs.  De  Mille  has  been,  for 
years,  the  head  of  the  great  DeMille  Agency, 


which  sold  plays  for  production.  Through  her 
capable  hands  have  passed  many  of  the  sue 
cesses  of  this  generation — and  the  last.  She  it 
was  who  sold  the  first  plays  of  Avery  Hopwood 
and  Mary  Roberts  Rinehart.  And  she  has 
been  associated,  in  business,  with  both  Daniel 
Frohman  and  David  Belasco. 

•"THE  opening  in  Los  Angeles  of  Marion 
*■  Davies  in  "Little  Old  New  York"  abso- 
lutely surpassed  anything  that  has  ever  been 
done  in  the  way  of  an  opening  here  before. 
The  most  brilliant  audience  ever  gathered 
under  one  roof  in  the  city,  was  the  unanimous 
verdict  of  everyone  who  attended.  The 
crowds  packed  the  streets  for  blocks  and 
policemen  had  to  be  called  to  get  the  stars 
through  the  jam  and  into  the  theater  safely. 

Douglas  Fairbanks  and  Mary  Pickford  at- 
tended, and  Mary,  as  usual  upon  any  public 
appearance,  was  cheered  frantically  by  the 
mob  in  the  street.  She  wore  a  charming  dinner 
frock  of  black,  with  a  little  close  fitting  black 
hat,  ornamented  with  white  flowers.  Norma 
and  Constance  Talmadge  were  there.  Norma 
with  her  lovely  hair  held  about  her  head  by  a 
fascinating  band  of  jet  and  wearing  an  elabo- 
rate evening  gown  of  cerise  and  gold.  Mr.  and 
Mrs.  Harold  Lloyd  occupied  a  loge,  and  Mrs. 
Lloyd  wore  white  under  her  ermine  evening 
wrap.  William  S.  Hart  attended,  and  Pola 
Negri  came,  accompanied  by  Mr.  and  Mrs. 
Charles  Eyton  (Kathleen  Williams).  Pola  was 
wrapped  in  an  opera  cloak  of  chinchilla,  with 
one  of  these  new  rolled  collars  framing  her 
face.  Madame  Elinor  Glyn  was  there,  and 
Rupert  Hughes,  Mr.  and  Mrs.  Fred  Niblo 
(Enid  Bennett),  Priscilla  Dean,  Mrs.  Wallace 
Reid  accompanied  by  her  mother,  Florence 
Vidor,  Mr.  and  Mrs.  Charles  Ray,  Mr.  and 
Mrs.  Douglas  MacLean,  Agnes  Ayres,  Bebe 
Daniels,  Eileen  Percy,  Mr.  and  Mrs.  Jack 
Coogan  and  Jackie  Coogan,  Viola  Dana,  Mr. 
and  Mrs.  Eric  von  Stroheim,  Mr.  and  Mrs. 
Cecil  De  Mille,  Mr.  and  Mrs.  William  de  Mille, 
Nita  Naldi,  Colleen  Moore,  Mr.  and  Mrs. 
Robert  Leonard  (Mae  Murray) — and  Miss 
Murray  wore  white,  with  the  most  fascinating 
little  wreath  of  white  ostrich  feathers  in  her 
lovely  blond  hair.  Jack  Barrymore  was  there, 
with  Monte  Blue  and  Mr.  and  Mrs.  Frank 
Lloyd,  Corinne  Griffith,  Kathleen  O'Connor, 
Richard  Dix  and  Lois  Wilson,  May  Allison 
and  Robert  Ellis,  James  Cruze,  Laurence 
Trimble,  Frances  Marion,  Marshall  Neilan 
and  Blanche  Sweet,  Mr.  and,  Mrs.  Ernst 
Lubitsch. 

[  CONTINUED  ON  PAGE  04  ] 


Mr.  and  Mrs.  Strongtieart  with  their  five  children — and  their  official  chaperon, 

Larry  Trimble.    The  whole  family  will  appear  in  the  next  Strongheart  picture, 

"The  Love  Master" 


Every  advertisement  in  PITOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


«5 


A  Kodak  for  Christmas 

Hardly  is  it  out  the  package  when  it's  out  the 
door  in  happy  hands,  "clicking"  the  holiday  story. 

Kodak  is  a  gift  that  everyone  wants. 

Autographic  Kodaks  $6.50  up 


EASTMAN  KODAK  COMPANY,  Rochester,  N.Y.,  7he  Kodak  City 


When  ymi  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


Rex  Ingram's 
production  of 
"Scaramouche" 
is  notable  for 
the  fidelity  to  type 
shown  by 
Mr.  Ingram 
in  casting. 
The  T^apoleon 
is  a  bit  strange, 
but  is  a 

faithful  portrait  of 
the  young  lieutenant 
of  artillery  at 
the  time  of  the 
French  Revolution 


Napoleon 

Danton 

6? 


ane 


Clotilde     Delano 
os    the    ill-fated 

(J  a  ecu  Marie 
A  ntoinette.  There 
is  a  strilcing  re- 
se  in  hi  a  ii  re  be- 
tween this  and 
portraits  done  by 
noted  artists  of 
her  lime 


Antoinette 


Slavko  Vorkapitch  (at  left)  as  the  young 

Napoleon,   and   George    Siegmann    as 

Danton,    wearing    the    tricolor    rosette 

owned  by  the  original  Danton 


S«Iey 


— =5- 


-4 


F      T     Y 


Y      E     A     F^    S 


AGO 


■£- 


When  the  village  grocer  recommended 
the  first  of  the  57  Varieties  to  the  house- 
wives of  your  grandmother's  day,  he 
said,  "It  is  as  good  as  it  can  be  made." 
The  new  ideal  of  purity,  wholesome- 
ness  and  goodness  that  made  that  first 
Heinz  food  so  welcome,  has  never  once 
been  sacrificed.  Every  one  of  the  57 
Varieties  is  made  as  good  as  it  can  be 
made.  To  maintain  this  ideal  unchanged 
throughout  fifty  and  more  years  of  con- 


tinuing business  growth  and  expansion 
has  required  changes  so  vast  that  the 
housewife  of  your  grandmother's  time 
would  stand  open-mouthed  in  amaze- 
ment if  she  could  see  the  perfection  of 
the  Heinz  Kitchens  today.  The  increase 
of  knowledge  and  experience,  the  pro- 
gress of  modern  science,  invention  and 
research  have  contributed  their  utmost 
to  making  the  57  Varieties  as 
good  things  to  eat  can  be  made 


as 


H 


HEINZ 

(5    s    t    a    b    I 


COM 

s   h   c  d   2069 


P  AN  Y 


& 


Q« 


**k®. 


<JMae  <_vWurray,  the  beautiful  motion  picture  star, 
says:  "Nothing  so  refreshes  the  face  and  takes  away 
the  tired,  strained  look  as  Mineralava. " 

Your  safeguard  against  wrinkles,  sagging  muscles, 

complexion  blemishes. 
Keeps  young  faces  healthful  and  rosy. 
Molds  old  faces  to  the  contour  of  youth.. 

^fineralava 

"Keeps  faces  Young" 


paris    VIVAUDOU    NEW  YORK 

'Distributor 


SOLD       AT       ALL       DRUG       AND       DEPARTMENT       STORES 
FACIALS     GIVEN    AND    RECOMMENDED    BY    BETTER    CLASS    BEAUTY    AND    BARBER    SHOPS 


Filming  the 

History  of  America 

at  Yale 


THE  accompanying  pictures  are  taken  from  "Columbus,"  the  first 
unit  of  the  film  history  of  America,  which  is  being  made  under  the 
auspices  of  the  Yale  University  Press.  There  will  be  30  of  these 
units,  the  material  being  taken  from  Professor  Allen  Johnson's  "  Chron- 
icles of  America."  This  is  the  greatest  stride  yet  taken  to  develop  the 
educational  value  of  the  motion  picture,  and  the  originators  of  the 
idea  believe  it  will  do  much  to  promote  good  and  intelligent  citizenship. 
It  is  intended  to  depict  every  important  phase  of  American  history. 


The  "Santa  Maria," the  flagship  of 

the  squadron  of  three  vessels  with  which 
Columbus   discovered   the  New  World 


Dolores  Cassinelli  os  Queen  Isabella, 

a/  Spain ,  offering  her  jewels  to  finance 

the  voyage  of  Columbus 


89 


9° 


Photoplay  Magazine— Advertising  Section 


Are  you  making  the  most  of  your  hair?  Here  are 
six  pictures  of  the  same  girl  showing  her  hair 
dressed  in  six  different  ways.  Notice  how  the 
various  arrangements  change  her  appearance. 

The  way  you  dress  your  hair  and  the  way  you 
care  for  it,  means  the  difference  between  looking 
attractive  or  just  ordinary. 


■ 

Why  you  must 
have  beautiful 
well-kept  hair- 

to  be  attractive 


\  \  7EAR  your  hair  becomingly, always  have 
*  *   it  beautifully  clean  and  well-kept,  and 
it  will  add  more  than  anything  else  to  your 
attractiveness  and  charm. 

\\  herever  you  go  your  hair  is  noticed  most 
critically. 

People  judge  you  by  its  appearance. 

It  tells  the  world  what  you  are. 

Heautiful  hair  is  not  a  matter  of  luck,  it  is 
simply  a  matter  of  care. 

You,  too,  can  have  beautiful  hair  if  you 
care  for  it  properly. 

In  caring  for  the  hair,  proper  shampooing 
is  always  the  most  important  thing. 

It  is  the  shampooing  which  brings  out  all  the 
real  life  and  lustre, the  naturalwaveand  color, 
and  makes  your  hair  soft,  fresh  and  luxuriant. 

While  your  hair  must  have  frequent  and 
regular  washing  to  keep  it  beautiful,  it  cannot 
stand  the  harsh  effect  of  ordinary  soaps.  The 
free  alkali  in  ordinary  soaps  soon  dries  the 
scalp,  makes  the  hair  brittle  and  ruins  it. 

That  is  why  discriminating  women,  every- 
where, now  use  Mulsified  cocoanut  oil  sham- 
poo. This  clear,  pure  and  entirely  greaseless 
product  cannot  possibly  injure,  and  it  does 
not  dry  the  scalp  or  make  the  hair  brittle,  no 
matter  how  often  you  use  it. 

When  oily,  dry  or  dull 

If  your  hair  is  too  oily,  or  too  dry;  if  it  is 
dull  and  heavy,  lifeless,  stiff  and  gummy;  if 
the  strands  cling  together,  and  it  feels  harsh 
and  disagreeable  to  the  touch;  or  if  it  is  full  of 


dandruff ,  it  is  all  due  to  improper  shampooing. 
You  will  be  delighted  to  see  how  easy  it  is 
to  keep  your  hair  looking  beautiful,  when  you 
use  Mulsified  cocoanut  oil  shampoo. 

The  quick,  easy  way 

Two  or  three  teaspoonfuls  of  Mulsified  in  a 
cup  or  glass  with  a  little  warm  water  is  suffi- 
cient to  cleanse  the  hair  and  scalp  thoroughly. 

Simply  pour  the  Mulsified  evenly  over  the 
hair  and  rub  it  in.  It  makes  an  abundance  of 
rich,  creamy  lather,  which  rinses  out  quickly 
and  easily,  removing  every  particle  of  dust, 
dirt,  dandruff  and  excess  oil — the  chief  causes 
of  all  hair  troubles. 

After  a  Mulsified  shampoo  you  will  find  the 
hair  will  dry  quickly  and  evenly  and  have 
the  appearance  of  being  much  thicker  and 
heavier  than  it  really  is.  It  keeps  the  scalp 
soft  and  healthy,  the  hair  fine  and  silky, 
bright,  fresh-looking  and  fluffy,  wavy  and 
easy  to  manage. 

You  can  get  Mulsified  at  any  drug  store  or 
toilet  goods  counter,  anywhere  in  the  world. 
A  4-ounce  bottle  should  last  for  months. 


©THE    R.L.W    CO. 


Splendid  for  Children 
—  Fine  for  Men 


sifie 

j  .      U.S.      PAT  UFF 

Cocoanut  Oil  Shampoo 


Every  advertisement  in  PHOTOPLAY  MAGAZINE 


QUESTIONS    and    ANSWERS 


H.  H.  Cobourgh,  Canada. — As  I  under- 
stand it,  Rodolph  claimed  that  Famous  had 
broken  its  contract,  while  Famous  claims 
Rudie  did  the  breaking,  if  any.  At  any  rate, 
Valentino  can  not  come  back  to  the  screen 
until  Feb.  1925,  when  his  contract  expires, 
unless  J.  D.  Williams,  of  the  newly-formed 
Ritz-Carlton  productions,  makes  some  settle- 
ment with  Famous.  Lady  Rumor  says  that 
such  a  settlement  is  near,  but  you  know  the 
Lady's  reputation.  The  present  Mrs.  Y.  ha> 
never  acted  in  pictures.  You  may  reach  your 
idol  by  addressing  him  P.  O.  Box  10,  Station. 
NY." 

Miss  Christmas. — No,  I  never  did  hear  of 
a  girl  named  Christmas,  but  if  you  Mere  born 
on  the  twenty-fifth  of  December  I  think  it  was 
a  bright  and  worthy  thought  on  the  part  of 
your  preacher  father.  If  you  admire  a  star 
and  her  work  and  personally  has  given  you 
happy  hours  there  is  no  bad  taste  in  sending 
her  a  Christmas  greeting,  and  I  am  sure  Belie 
Daniels  and  Shirley  Mason  would  appreciate 
it.  Miss  Mason's  husband  died  a  few  months 
ago.  Yes,  motion  picture  stars  have  made  rec- 
ords, and  it  is  strange  that  you  should  ask  this 
question  at  this  time  because  loth  your  favor- 
ites have  made  special  Chri.-tmas  greeting 
records,  and  you  may  be  able  to  find  them  in 
your  town.  If  not,  write  the  Starr  Piano  Co. 
at  Richmond,  Ind.  They  call  them  Gennett 
Christmas  greeting  records. 

Swf.et  Sixteen,  Sioux  City,  Ia. — You 
address  me  as  Miss,  Mrs.  or  Mister.  Well, 
those  are  three  fair  guesses.  Johnny  Walker  is 
twenty-seven,  stands  five  feet  eleven  inches, 
and  tips  the  scale  at  165  lbs.  But  he  is  mar- 
ried. I  agree  with  you  that  it's  glorious  to 
be  silly  when  you're  sixteen.  It's  glorious  to 
be  anything  when  you're  sixteen.  I  haven't 
been  sixteen  for  a  long  time  now,  though 
another  nice  note  from  you  would  help  to 
restore  my  youth. 

Dorothy  K.,  Newark,  N.  J. — Anna  Q. 
NiLson  is  her  real  name.  Address  her  at 
United  Studios,  Hollywood.  Milton  Sills  is 
38  and  that's  his  real  name,  too.  Some  day 
somebody  may  be  writing  me  to  ask  if  that's 
your  real  name. 


"V/OU  do  not  have  to  be  a  subscriber  to 
*  Photoplay  Magazine  to  get  questions 
answered  in  this  Department.  It  is  only 
required  that  you  avoid  questions  that 
would  call  for  unduly  long  answers,  such  as 
synopsis  of  plays,  or  casts  of  more  than  one 
play.  Do  not  ask  questions  touching  reli- 
gion, scenario  writing  or  studipemployment. 
Studio  addresses  will  not  be  given  in  this 
Department,  because  a  complete  list  of  them 
is  printed  elsewhere  in  the  magazine  each 
month.  Write  on  only  one  side  of  the  paper. 
Sign  your  full  name  and  address;  only  ini- 
tials will  be  published  if  requested.  If  you 
desire  a  personal  reply,  enclose  self-addressed 
stamped  envelope.  Write  to  Questions  and 
Answers,  Photoplay  Magazine,  221  W.  57  th 
St..  New  York  City. 


Iola  E. — The  beautiful  May  McAvoy  was 
born  in  New  York  City  in  iqoi,  which  makes 
her  just — but  figure  that  out  for  yourself, 
she  weighs  94  lbs.  and  is  just  one  inch  under 
five  feet.  She  has  curly  dark  hair  and  blue 
eyes  that  give  the  blues  to  all  the  men  who 
can't  marry  her.  Some  of  her  best  pictures 
include  "A  Private  Scandal,"  "Everything 
for  Sale,"  "Morals,"  "Only  Thirty-Eight" 
and  "Her  Reputation."  She  can  be  reached 
at  the  Lasky  Studio,  Hollywood,  Cal. 

Jean  Eileen,  Zanesville,  O.— You  ask 
why  the  girls  send  me  such  silly  letters.  They 
may  seem  silly  to  you,  but  they're  very  pre- 
cious to  me — both  the  letters  and  the  girls. 
Richard  Dix  played  the  role  of  Richard 
Templar,  the  district  attorney  in  "The  Woman 
with  Four  Faces."  I'll  tell  Rich  that  if  he 
still  wants  "a  clinging  vine  with  brains,"  I 
have  your  address.  And  invite  me  to  the 
wedding,  won't  you?  Also  better  invite  Lois 
Wilson.  They  do  say  they're  engaged,  you 
know. 


Watch  for  the  winners 
of  the  Cut  Puzzle  Contest 
in  the  next  issue.  Order 
your  Photoplay  in  advance 


II.  R.  H.,  Santa  Barbara,  Cal. — J.  War- 
ren Kerrigan's  eyes  are  hazel,  and  that  may 
be  why  all  the  girls  are  nutty  about  him.  He 
is  thirty-four.  His  three  pictures  before  he 
retired  temporarily  from  screen  work  were 
"  Coast  of  Opportunity,"  "House  of  Whispers" 
and  "The  Green  Flame."  You  can  see  him 
at  present  in  "The  Covered  Wagon,"  "The 
Girl  of  the  Golden  West,"  and  "A  Man's 
.Man." 

Harry  R.  L..  Detroit,  Mich. — Pauline 
(iaron  isn't  married.  She  was  born  Sept.  9, 
1900,  and,  though  she  was  a  tiny  infant  on 
that  day,  she  now  towers  five  feet  and  one  inch. 
I  think  she  will  be  glad  to  send  you  a  picture 
if  you  write  her  care  of  Arthur  Jacobs,  United 
Studios,  Hollywood. 

Clarines,  Detroit,  Mich. — Lady,  the 
effect  of  your  typing  on  pale  lavender  note 
.  paper  is  not  only  distinctive,  it  is  devastating, 
but  so  would  anything  you  write  be.  Please 
send  me  immediately  a  note  on  your  bright 
tangerine  note  paper,  and  don't  forget  the  Nile 
green  sealing  wax.  My  aversion  to  bright- 
colored  paper  is  done  away  with,  if  the  fas- 
cinating epistolar  is  yourself.  You  can  reach 
Rodolph  by  addressing  him  in  care  of  Ritz- 
Carlton  Productions,  6  West  48  St.,  New  York. 
The  cast  for  "Les  Miserables"  follows: 
Jean  Valjean,  William  Farnum;  The  Bishop, 
George  Moss;  J  avert,  Hardie  Kirkland;  Tan- 
tine,  Sonia  Markova;  Coselte,  aged  8,  Kittens 
Reichert;  Coselte,  aged  18,  Jewel  Carmen; 
Marias,  Harry  Spingler;  Eponine,  Dorothy 
Bernard;  Gavroelie,  Anthony  Phillips;  Tlicnar- 
dier,  Edward  Ellis;  Mmc.  Thenardier,  Mina 
Ross. 

Audrey  J.,  Berkeley,  Cal. — Gloria  Swan- 
son  has  brown  hair,  blue  eyes,  is  five  feet  three 
inches  tall,  and  weighs  112.  Alice  Terry  is 
twenty-seven.  Madge  Bellamy  isn't  married 
yet,  though  she  says  she  is  giving  my  proposal 
serious  consideration.  Jack  Holt  is  thirty- 
five.  Address  Harrison  Ford  at  the  Mayer 
Schulberg  Studio,  3800  Mission  Road,  I.o 
Angeles. 


[  continued  on  page  115] 


91 


92 


ISHAM  JONES 


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Photoplay  Magazine — Advertising  Section 

Cretonne  Has  a  Place  in  the  Home 

[  CONTINUED  FROM  PAGE  59  ] 


93 


;f 


These  are  but  three  of  many  new 
designs.  The  one  on  the  left,  above, 
is  suitable  for  draperies  in  a  living 
or  dining  room.  The  one  on  the 
right  would  make  any  bedroom  bright 
iiiid  attractive.  The  bottom  one, 
darker  and  heavier,  is  ideal  for  slip- 
covers or  upholstery 


the  wall  paper  and  the-  rug  is  large,  then  a 
,-impler  pattern  in  the  cretonne  is  preferable. 
The  pattern  and  coloring  of  the  cretonne  should 
harmonize  with  the  pattern  and  coloring  of  the 
walls  and  rug,  but  they  need  not  necessarily 
match.  The  dominant  tone  in  the  walls  and 
floor  covering  should  be  reflected  in  the  color- 
ings of  the  hangings. 

If  a  room  is  dark,  then  light,  gayly  colored 
fabrics  should  be  used  in  both  hangings  and 
furniture  coverings.  If  the  room  is  light  and 
sunshiny,  then  quieter  fabrics  should  be  se- 
lected. Several  different  patterns  of  cretonnes 
may  be  used  in  one  room,  but  care  should  be 
exercised  in  this  to  get  the  colorings  somewhat 
harmonious,  else  the  result  will  be  "patched" 
in  appearance. 

No  great  number  of  definite  rules  can  be 
given  governing  the  selection  of  fabrics.  If  the 
matter  cannot  be  settled  in  your  own  mind, 

Two  types  of  chairs,  covered-  with 
cretonne.  Utterly  different  in  line 
and  treatment,  they  are  both  charm- 
ing. Notice  the  cretonne  curtains 
and  the  lamp  shade 


then  you  should  seek  the  advice  of  the  dealer 
from  whom  you  buy  the  fabric.  Or  else  write 
to  the  manufacturers  who  have  prepared  book- 
lets showing  color  schemes  for  their  various 
fabrics.  Above  all  things,  do  not  rush  into 
buying  a  cretonne  without  carefully  consider- 
ing its  use,  and  the  room  in  which  it  will  be 
used. 

Of  the  variety  of  window  hangings  several 
volumes  can  be  written.  For  hangings,  cre- 
tonnes can  be  used  as  simple  drapes  over  some 
thin  glass  curtain  fabric.  These  drapes  can 
have  plain  shirred  or  French  headings  and  be 
hung  from  single  rods.  Or  the  hangings  can 
have  a  valance  of  shirred,  box-pleated,  or 
shaped  type  of  the  same  material,  or  of  some 
plain  colored  material  that  reflects  the  primary 
color  of  the  pattern.  This  is  all  governed  by 
personal  taste,  and  the  size  of  the  window, 
and  the  type  of  room.  Small  windows  should 
be  treated  simply.  Large  windows  can  stand 
a  valance.  Formal  rooms  demand  a  shaped 
valance,  in  all  probability.  Homey  rooms 
should  have  the  hangings  simple. 

The  illustration  at  the  head  of  this  article 
shows  the  wonderful  adaptability  of  cretonne 
to  the  average  room,  and  the  use  that  can  be 
made  of  it  in  several  units.  The  patterns  in 
the  hangings,  the  couch  cover,  and  the  slip 
cover  of  the  big  chair  are  all  different,  yet  well 
chosen  for  harmony.  In  all,  the  room  has  a 
"homey,"  lived-in  look  which  is  the  essence  of 
its  charm. 

We  are  often  prone  to  think  of  cretonne  as 
purely  a  summer  fabric,  and  consequently  of 
slip  covers  as  the  only  use  to  which  this  fabric 
can  be  put.  But  the  old  order  has  changed, 
and  new  habits  of  thought  and  decoration  have 
made  cretonne  an  all-year-round  material. 
Which  brings  us  to  the  thought  that  slip  covers 
are  not  merely  utilitarian.  They  are  the 
camouflage  that  gives  a  cheerless  room  a  note 
of  color,  and  lends  a  decorative  touch.  How 
charming  the  big  arm  chair,  or  couch  that 
stands  out  in  glorious  color  against  the  neutral- 
ity of  wall  and  floor  covering,  the  dark  surface 
of  mahogany  or  walnut!  What  a  ray  of  sun- 
shine a  gayly  colored  cretonne  brings  into  any 
room. 

And  just  as  there  are  numberless  ways  to  use 
cretonne  in  window  hangings,  so  are  there  many 
ways  in  which  slip  covers  can  be  made  and 
used.  Plain  colored  fabrics,  with  brilliant  pip- 
ings can  be  used  to  match  the  coloring  of  fig- 

[  CONTINUED  ON  PAGE  105  ] 


-  JL 


ijomplan 
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94 


Photoplay  Magazine — Advertising  Section 


Curwood's  New  Book! 


f% 


A  Stirring 
Novel  of 
'  America's 
Last  Frontier 

The 

ALASKAN 

B>  the  man  who  wrote  The  River's  End, 
The  Country  Beyond,  etc. 

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and  glory  in  the  daring  of 
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man.  Read — and  thrill  as 
they  face  death.  Read — 
of  a  love  so  wonderful  that 
it  could  even  deny  itself. 

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Curwood's  books. 
Millions  have  read 
his  serials.  The  best 
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THE    ALASKAN. 

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Here  is  one  of  those  wild  Hollywood  bathing  parties  you  hear  so  much  about. 
The  participants  in  this  orgy  are  Malcolm  McGregor,  former  swimming  cham- 
pion of  Yale,  and  his  small  daughter,  Joan,  who  is  jvst  as  chesty  as  her  father 
and  just  as  fond  of  swimming 


Gossip — East  5P  West 


CONTINUED  FROM  PAGE 


The  opening  of  Charles  Chaplin's  "A  Wom- 
an of  Paris,"  of  Mabel  Normand's  "The  Extra 
Girl,"  and  of  Charles  Ray's  "The  Courtship  of 
Miles  Standish"  were  also  well  attended. 

AND  now  the  pictures  have  lost  three  prom- 
■**ising  young  applicants — we  use  the  word 
promising  in  a  large  manner!  Craig  Biddle, 
whose  love  affairs  couldn't  even  get  him  a  good 
part;  his  brother  Drexel,  who  was  attempting 
to  follow  through;  and  Park  Benjamin,  Second. 
All  three  of  them  have  decided  to  leave  the 
overcrowded  profession  to  the  poor  stars  who 
really  need  the  money.  Being  millionaires, 
they  were  only  in  it  for  the  fun  of  the  thing. 
anyway.     Craig  is  now  selling  real  estate — or 


trying  to.  While  Drexel  and  Park  have  gone 
into  the  oil  business — where  there's  room  for 
every  comer. 

THE  rumor  that  Cecil  and  William  de  Mille 
may  leave  Paramount  and  begin  production 
together  upon  their  own  grows  in  intensity. 
The  fact  that  the}'  have  recently  purchased  a 
large  site  in  Hollywood  which  has  long  been 
regarded  as  a  great  location  for  a  studio  has 
added  weight  to  the  rumor. 

TT  they  give  him  just  one  more  picture  to  do 
-Mn  Arizona,  Richard  Dix  is  going  to  leave  pic- 
tures flat  and  go  to  digging  ditches  or  some- 
thing easy  like  that.     The  fast  three  pictures 


When  ymi  write  to  advertisers  please  men' Ion  photoplay  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


95 


3R8p 


1 1 


Mrs.  Ethel  Styles  Middleton 
Pittsburgh  house- 
zcife.  author  of  the 
original  screen  ptay, 
"Judgment  of  the 
Storm/' 


Palmer  Photoplay  Corporation 

pre  s  ents 

Judgment 

of  the 

Storm 

by 

Ethel  Styles  Middleton 

JA       — ___  JkMM7 

\IW^\U. ■■..:*:.'iju  __ ..  i  jx  %  .' ;' :         j 


Here's  the  Picture 
Millions  Await ! 

^created  by  the  Wife  of  a  factory  foreman 


THIS  is  the  story  of  a  remarkable  new 
photoplay  conceived  by  the  wife  of  a 
factory  foreman,  and  produced  under  a  revo- 
lutionary policy. 

"Judgment  of  the  Storm"  is  drama  of  the 
people,  by  one  of  the  people,  for  the  people. 
It  is  rooted  in  the  fertile  soil  of  everyday 
life. 

Millions  await  this  advance  guard  in  the 
national  movement  inaugurated  by  its  pro- 
ducers to  open  wide  the  studio  gates  to  un- 
discovered creative  genius.  It  symbolizes 
the  realization  of  an  ambition  shared  by 
millions,  to  find  self-expression  through  the 
universal  medium,  the  motion  picture  screen. 

It  is  the  first  of  the  most  talked  of  series  of 
pictures  ever  announced  by  a  producer.  Mrs. 
Middleton's  story  was  created  directly  for 
the  screen,  but  it  is  drama  so  gripping  that 
Doubleday  Page  &  Company  have  written  a 
novel  from  the  scenario,  which  will  be  on 
sale  in  book  shops  wherever  the  picture  is 
shown — exactly  as  the  late  Emerson  Hough 
wrote  his  novel,  "The  Covered  Wagon," 
from  the  scenario  of  that  title  which  he  first 
conceived  for  the  screen. 

A  Housewife  with  Pluck 

The  author  is  a  Pittsburgh  housewife  who 
wanted  to  write  for  the  screen,  and  did  it; 
just  an  intelligent,  ambitious  woman  who 
had  never  written  before,  but  who  did  not 
hesitate  on  that  account  to  try. 

She  has  brought  to  the  millions  a  screen 
play  of  vital  force;  so  vital  that  a  great 
publishing  house  immortalizes  its  drama  be- 
tween the  covers  of  a  book. 

Her  characters  might  be  you,  as  they  move 
through  tense  situations  which  hold  the  spec- 
tator spellbound.  They  think  as  you  would; 
they  react  to  universal  emotions  as  everyday 
people. 

And  the  great  snow  storm  is  the  peak  of 

Copyright  1923 — Palmer  Ph"toplay  Corporation 


ALL  STAR  CAST 


Lloyd  Hughes 

Myrtle  Stedman 

Lucille  Ricksen 

George  Hackathorne 

Claire  McDowell 

Philo  McCullough 

Casson  Ferguson 

Clarence  Burton 

Bruce  Gordon 

Directed  by  Del  Andrews 

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screen  realism.  It  is  the  kind  of  blizzard 
you  have  heard  your  grandparents  try  to 
describe,  but,  like  the  real,  it  beggars 
description. 

How  Did  She  Do  It? 

Last  year  Mrs.  Middleton  clipped  a  cou- 
pon like  the  one  on  this  page  and  through 
the  creative  test  which  that  coupon 
brought  her,  satisfied  herself  that  her  de- 
sire to  create  screen  drama  was  backed 
up  by  natural  ability. 
Mrs.  Middleton  was  paid  $1,000  ad- 
vance on  royalties  based  on  the  pronto 
of  "Judgment  of  the  Storm**  for  five 
years. 


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Here  are  those  charming  "shots"  from  Charles  Ray's  "The  Girl  I  Loved"  which 
show  the  mother  cat  carrying  her  kittens  up  to  the  barn  loft  and  which  have 
made,  many  ask  how  it  is  done.  Well,  here's  how.  That  sequence  is  what 
is  known  as  "stack  stuff."  This  cat's  kittens  were  barn  in  the  barn  loft  and 
someone  moved  them  down.  She  started  to  carry  them  back,  someone  saw  her 
and  ran  far  a  camera.  But  before  the  camera  was  set  up  she  had  moved  all 
but  one  and  she  wouldn't  make  the  trip  again.  So  the  one  picture  was  taken, 
and  the  rest  of  the  sequence  was  made  the  next  time  a  Utter  of  kittens  was  born. 
Then  the  "shots"  were  put  away  and  brought  out  for  the  Ray  picture 


Richard  has  made  have  been  in  the  heart  of 
some  wild  and  woolly  country,  and  wild  west 
locations  are  about  as  disagreeable  and  difficult 
as  anything  can  very  well  be.  Ten  weeks 
apiece  on  "To  the  Last  Man,"  and  "The  Call 
of  the  Canyon,"  and  young  Mr.  Dix  shys  at 
the  street  cars  when  he  comes  back  to  Holly- 
wood. We  still  can't  give  you  any  definite 
word  about  the  Richard  Dix-Lois  Wilson  en- 
gagement.   It  seems  to  be  in  abeyance. 

ONE  of  those  most  distinguished  premieres 
ever  given  a  picture  was  that  of  Rex  In- 
gram's "Scaramouche,"  in  Washington,  D.  C, 
under  the  auspices  of  the  American  Red  Cross 
for  the  benefit  of  the  Japanese  disaster  vic- 
tims. Mischa  Elman  played  and  diplomatic 
rociety  attended,  including  a  party  for  which 
Mrs.  Woodrow  Wilson  acted  as  hostess.  Mr. 
Ingram,  who  was  called  upon  for  a  speech, 
occupied  the  box  of  the  French  ambassador. 
Other  embassies  holding  boxes  were  those  of 
Great  Britain,  Italy,  Belgium,  Japan,  Nor- 
way, Switzerland,  Peru,  Argentina,  Roumania, 
Cuba,  Panama,  Poland,  Siam,  Czecho-Slovakia 
and  Persia. 

But,  Rex,  oh  where,  oh  where  was  Ireland! 

ERIC  VON  STROHEIM  has  a  lot  of  hard 
luck.  He  took  his  "  Greed  "  company  out  to 
Death  Valley  to  shoot  some  scenes  and  all  of 
them  suffered  real  privations  because  of  short- 
age of  food  and  water.  Then,  one  day.  von 
Stroheim  thought  he'd  give  the  boys  and  girl--  a 
treat.     So  he  took  a  car  and  a  shotgun,  ran 


about  ioo  miles  to  a  lake  and  shot  enough 
ducks  to  give  the  entire  company  at  least  one 
good  meal.  And  before  he  could  even  cook  the 
ducks,  he  was  arrested  for  shooting  wild  ducks 
out  of  season.  He  threatened  to  discharge  any 
member  of  the  company  who  appeared  in 
court  to  hear  what  the  judge  said  to  him,  so 
that  part  of  the  story  remains  shrouded  in 
mystery. 

JACKIE  COOGAN  has  compiled  a  list  of  the 
J  seven  wonders  of  the  world  and  the  seven 
deadly  sins,  at  least,  so  far  as  his  personal  in- 
terest goes.  The  wonders  are:  Charlie  Chap- 
lin, locomotive  engineers,  Babe  Ruth,  Jackie's 
horse.  Diamond,  aeroplanes,  his  air  rifle  and 
Douglas  Fairbanks. 

The  seven  sins  are:  temperamental  directors, 
soap,  getting  his  hair  cut,  new  clothes,  people 
who  say  "Isn't  he  cute?"  clocks  that  strike 
loudly  at  bedtime,  and,  worst  of  all,  castor  oil. 

A  LITTLE  girl  walked  shyly  out  of  her 
home,  in  Flushing,  Long  Island,  the  other 
day.  She  stepped  out  for  the  purpose  of 
watching  a  scene  made — a  scene  from  Glenn 
Hunter's  "West  of  the  Water  Tower."  She 
was  Alice  Adikes,  seventeen  years  old  and — of 
course — pretty.  Just  as  she  happened  on  the 
set,  the  director  discovered  that  he  was  short 
one  girl — and  Miss  Adikes  was  drafted  into 
service.  And  so,  quite  without  meaning  to, 
she  made  her  entrance  into  the  charmed  circle 
— that  is  the  dream  of  nearly  every  seventeen 
year  old  girl.    The  next  day  she  appeared  in 


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The  living  room  of  Mr.  and  Mrs.  Douglas  Fairbanks'  Beverly  Hills  home. 
Not  an  awe-inspiring  room  at  all,  even  though  it  does  belong  to  rather  awe- 
inspiring  people!     The  deep  chairs  are  cosy,  the  couches  inviting,  and  the 
oriental-  rugs  pleasantly  worn.    A  room  to  enjoy,  beyond  a  doubt 


other  scenes  for  the  same  picture.  And  the 
next  day  she  brought  her  sister  Catherine  to 
the  studio,  and  they  both  appeared  in  still 
other  scenes.  And  now  they're  on  the  casting 
director's  list — and  there's  no  telling  what  may 
happen.    Stories  do  come  true,  sometimes. 

"D  EBE  DANIELS  is  home  in  California  once 
■'-'more — and  almost  as  glad  to  see  Hollywood 
as  it  was  to  see  her.  She's  getting  ready  to 
move  into  a  new  house — and  stay  there,  she 
says.  New  York  was  all  right,  but  Bebe  is  a 
California  born  and  bred,  and  she  likes  it 
better  than  any  place  else  on  the  globe.  Her 
first  party  was  given  for  Jim  Kirkwood  and 
Lila  Lee,  to  celebrate  Jim's  recovery  after  his 
serious  accident  when  he  fell  from  his  horse. 
Mr.  Kirkwood  is  up  and  around  now  and  will 
soon  be  able  to  go  back  to  work.  And  Lila  Lee 
Kirkwood,  who  never  left  his  bedside  during 
the  long  days  when  he  lay  unconscious  and 
doctors  despaired  of  his  life,  looks  as  though  a 
good  rest  were  next  in  order  for  her.  However, 
they  are  to  do  a  picture  together  very  soon  for 
Thomas  H.  Ince. 

A  >fUCH  excitement  and  many  legal  compli- 
*-"-*-cations  have  resulted  from  an  altercation 
between  Mrs.  Adelaide  Burns,  mother  of 
Gloria  Swanson,  and  a  young  man  by  the  name 
of  Howard  E.  Watt  and  accusations  on  both 
sides,  aired  in  court  and  in  the  newspapers,  have 
been  extremely  pointed. 

The  legal  phraseology  is  much  too  compli- 
cated, but  Mrs.  Burns  alleges  a  blackmailing 
plot  by  Watt  against  herself,  her  daughter  and 
Marshall  Neilan.  Mr.  Neilan,  it  appears, 
made  some  report  to  the  district  attorney's 
office  in  Los  Angeles,  claiming  a  possible  black- 
mail plot  against  himself  and  Miss  Swanson. 
And  Mrs.  Burns  withdrew  her  application  to 
have  Watt  appointed  administrator  of  her  hus- 
band's estate. 

Watt  claims  that  he  was  engaged  to  Mrs. 
Burns  and  that  he  had  handled  all  her  business 
affairs  for  some  time,  when  suddenly  he  re- 
ceived a  brief  note  from  her,  breaking  the 
engagement  and  severing  all  connections. 

Whereupon  he  wrote  her  a  note,  which  he 
claims  was  merely  the  heartbroken  protest  of  a 
discarded  suitor  who  has  been  given  no  ex- 
planation, warning  her  to  be  very  careful. 
Mrs.  Burns  took  the  threat  as  an  intimation  of 
blackmail.    And  there  you  are. 


1 

Every  advertisement  in  PHOTOI'LAV  MAGAZINE  i3  guaranteed. 


In  the  meantime,  Gloria's  own  divorce  suit 
has  been  settled  and  Mr.  Somborn  given  a 
decree  on  the  grounds  of  desertion. 

•"THERE  is  something  marvelously  fasci- 
*•  nating  about  seeing  some  of  the  very  first 
screen  efforts.  The  distance  travelled  is  so  un- 
believable, and  yet  those  first  pictures  had  so 
much  that  was  vital  and  real. 

Frances  Marion  entertained  the  other  eve- 
ning with  a  "cat  party,"  at  which  the  guests 
were  Norma  Talmadge,  Mary  Pickford,  Con- 
stance Talmadge,  Mrs.  "Peg"  Talmadge,  Mae 
Murray,  Blanche  Sweet,  Florence  Vidor,  Pris- 
cilla  Dean,  Eileen  Percy,  Ethel  Grey  Terry, 
Mrs.  William  S.  Hart,  Mrs.  Wallace  Reid, 
Kathleen  O'Connor,  Mrs.  Niles  Welch,  Mrs. 
Roy  Stewart,  Colleen  Moore  and  Mrs.  Harold 
Lloyd. 

Afterwards  she  ran  in  her  projection  room 
some  films  made  fifteen  and  sixteen  years  ago. 
In  the  first  one,  a  one  reel  Biograph  feature, 
Mary  Pickford  played  a  gipsy  heavy,  and  in  a 
later  one  she  played  what  was  actually  her  first 
part — a  small  page,  rather  like  a  Puck.  In  this 
same  feature  Wallace  Reid  was  an  extra  man, 
in  a  suit  of  armor,  and  Mack  Sennett  was  also 
in  the  ranks.  Later,  Anita  Loos'  first  scenario, 
"The  New  York  Hat,"  showed  the  Mary  Pick- 
ford who  began  to  win  the  hearts  of  the  world. 
It  was  amusing  in  this  to  see  Mae  Marsh  trail- 
ing around  in  the  background  as  a  vicious  old 
gossip,  and  Lillian  Gish  in  the  merest  flash  as 
a  member  of  the  church  congregation.  The 
first  two-reeler,  starring  Blanche  Sweet,  with 
Marshall  Neilan  as  her  leading  man  and  Lionel 
Barrymore  as  the  heavy,  and  Dorothy  Gish  as 
the  child,  was  extremely  interesting  for  the 
force  of  Miss  Sweet's  dramatic  work  and  the 
flashes  of  vivid  direction.  It  was  directed  by 
James  Kirkwood,  and  "made  him."  Among 
the  extras  in  a  ball  room  scene,  you  could 
locate  Priscilla  Dean  and  Dorothy  Davenport 
Reid. 

The  most  amazing  thing  is  that,  to  Mary 
Pickford,  clothes,  atmosphere  disconnected, 
and  unfinished  stories  seem  to  make  no  differ- 
ence. The  exquisite  charm  of  her  personality, 
the  wistful  appeal,  the  delicious  smile,  the 
lovely,  spiritual  face  are  just  the  same  in  those 
funny  old  pictures  and  those  funny  old  clothes 
as  they  are  today. 

And  Norma  Talmadge's  vivid  charm  and 


Photoplay  Magazine — Advertising  Section 


warm,  bright  beauty  survive  anything  that  can 
be  clone  to  it.  Seeing  these  old  pictures  it  is 
more  than  ever  easy  to  understand  why  Mary 
Pickford  and  Norma  Talmadge  won  first  places 
and  have  held  them  against  all  comers. 

FRANCES  MARION  has  certainly  been 
deserted  by  Lady  Luck  just  recently.  After 
recovering  from  a  severe  attack  of  whooping 
cough,  which  threatened  to  develop  into  some- 
thing more  serious,  the  famous  scenario  writer 
and  director  was  hit  by  a  falling  arc  light  and 
knocked  unconscious  on  the  set,  while  directing 
Norma  Talmadge.  When  she  had  recovered 
from  that  shock,  her  husband,  Fred  Thomson, 
was  thrown  from  his  horse  while  making  a 
serial,  and  so  severely  injured  that  for  a  time 
they  dispaired  of  saving  his  life.  He  is  now 
completely  recovered  however,  and  Frances  is 
keeping  out  from  under  lights  which  careless 
electricians  might  drop.  In  spite  of  all  this, 
however,  Miss  Marion  wrote  and  co-directed 
"Dust  of  Desire"  for  Norma  Talmadge,  wrote 
the  scenario  for  her  next  story,  "Secrets," 
supervised  and  wrote  the  story  for  Constance 
Talmadge's  "The  Dangerous  Maid,"  titled 
and  edited  "The  Life  of  Abraham  Lincoln," 
and  assisted  Mary  Pickford  in  the  preparation 
of  "Dorothy  Vernon  of  Haddon  Hall." 

AND  now  they're  searching  for  a  young 
couple  to  play  in  the  screen  version  of  that 
Broadway  success  "The  First  Year."  It  will 
be  hard  to  find  a  young  husband  who  will  come 
anywhere  near  the  mark  set  by  Frank  Craven, 
the  author-actor,  who  made  the  part  so  in- 
tensely human.     It  will  also  be  difficult  to 


99 


Charlie  Ray  gives  his  boon  companion, 
Whiskers,  a  little  lesson  in  reading. 
Whiskers  may  scratch  on  the  door, 
and  bark  to  come  in,  when  the  sign 
registers  properly.  But  when  the  fatal 
word  "out"  appears,  Whiskers  must 
crawl  under  the  porch,  and  sob  him- 
self to  sleep 


One  thing  seemed  to  stand  between 

her  and  marriage— a  thing  she  didn't 

even  dare  mention  to  him. 


"Could  I  be  happy  with  him 
spite  of  that  ?  " 


in 


SHE  had  announced  her  engagement  to  him.  Her 
friends  were  beginning  to  be  quite  curious  as  to 
when  the  wedding  would  occur.  And  he,  more  insis- 
tent than  any  of  them,  was  pleading  with  her  to  set 
a  definite  time. 

One  thing  seemed  to  stand  in  the  way- — something 
she  didn't  have  the  courage  to  talk  to  him  about — 
something  she  feared  might  interfere  with  her  hap- 
piness. 

She  simply  didn't  know  what  to  do. 


That's  the  insidious  thing  about 
halitosis.  You,  yourself,  rarely 
know  when  you  have  it.  And  even 
your  closest  friends  won't  tell  you. 

Sometimes,  of  course,  halitosis 
comes  from  some  deep-seated  or- 
ganic disorder  that  requires  pro- 
fessional advice.  But  usually  — 
and  fortunately  —  halitosis  is  only 
a  local  condition  that  yields  to  the 
regular  use  of  Listerine  as  a  mouth 
wash  and  gargle. 

It  is  an  interesting  thing  that 
this  well-known  antiseptic  that  has 
been  in  use  for  years  for  surgical 
dressings,  possesses  these  peculiar 
properties  as  a  breath  deodorant. 


It  halts  food  fermentation  in  the 
mouth  and  leaves  the  breath  sweet, 
fresh  and  clean.  So  the  systematic 
use  of  Listerine  puts  you  on  the 
safe  and  polite  side.  You  know  your 
breath  is  right.  Fastidious  people 
everywhere  are  making  it  a  regular 
part  of  their  daily  toilet  routine. 

Your  druggist  will  supply  you 
with  Listerine.  He  sells  lots  of  it. 
It  has  dozens  of  different  uses  as  a 
safe  antiseptic  and  has  been 
trusted  as  such  for  half  a  century. 
Read  the  interesting  little  booklet 
that  comes  with  every  bottle. — 
Lambert  Pharmacol  Company, 
Saint  Louis,  U.  S.  A. 


HALITOSIS 


in 

k 

It :  " 

w 

use 
LISTERINE 


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IOO 


fear 

Are  you  self-conscious 
about  the  impression 
you  make  on  people? 

FEAR  is  probably  the  greatest 
handicap  anyone  can  have  in  life. 
It  keeps  you  from  being  your  own 
real  self — from  doing  your  downright 
best  and  from  getting  on  in  life  as 
you  should. 

Personal  appearance  has  a  lot  to 
do  with  the  way  you  feel.  Clothes 
count,  of  course.  But  still  there  is 
one  thing  so  many  people  overlook — 
something  that  at  once  brands  them 
as  either  fastidious  or  careless — the 
teeth. 

Notice  today  how  you,  yourself, 
watch  another  person's  teeth  when 
lie  or  she  is  talking.  If  the  teeth  are  not 
well  kept  they  at  once  become  a  liability. 

Only  the  right  dentifrice — consistently 
used — will  protect  you  against  such  crit- 
icism. Listerine  Tooth  Paste  cleans  teetli 
a  new  way.  The  first  tube  you  buy  will 
prove  this  to  you. 

You  will  notice  the  improvement  even  in 
the  first  few  days.  And,  moreover,  just  as 
Listerine  is  the  safe  antiseptic,  so  Listerine 
Tooth  Paste  is  the  safe  dentifrice.  It  cleans 
!  it  it  cannot  injure  the  enamel. 

What  are  vour  teeth  saying  about  you 
today? 

LAMBERT  PHARMACAL  CO. 
St.  Louis,  V.  S.  A. 


Photoplay  Magazine — Advertising  Section 


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Col.  Fred  Levy,  "discoverer"  of  Jackie 
Coogan,  has  built  this  house  in  Louisville 
with  his  profits  from  the  young  star's 
"  Peck's  Bad  Boy."  On  the  front  door  is 
a  brass  plate,  bearing  the  inscription 
shown  at  the  right 


locate  a  girl  who  can  fill  Roberta  Arnold's 
place,  in  the  script.  It  will  be  remembered 
that  Roberta  Arnold  was  once  the  wife  of 
Herbert  Rawlinson — and  though  that  matri- 
monial venture  did  not  turn  out  as  happily  as 
the  problems  of  "The  First  Year,"  the  blame 
scarcely  lies  with  Roberta. 

It  would  be  interesting  if  Preferred  Pictures 
might  take  a  chance— giving  the  parts  to  a 
pair  of  young  people  who,  though  happily  mar- 
ried, were  new  to  the  pictures.  Al  Lichtman 
and  B.  P.  Schulberg  have  just  about  decided, 
after  a  veritable  series  of  conferences,  that  they 
shall  entrust  the  coveted  roles  to  married  folk 
— and  married  ones,  only!  But  there's  the 
rub — there  aren't  so  very  many  married 
couples  who  come  up  to  the  qualifications. 
The  applicants  narrow  down  to  Wallace  Mac- 
Donald  and  Doris  May,  May  Allison  and 
Robert  Ellis,  the  Carter  de  Havens,  Frank 
Mayo  and  Dagmar  Godowsky,  the  Ingrams — 
who  are  out  of  the  question,  necessarily — and 
that's  about  all ! 

But  no — is  it?  How  about  Zasu  Pitts  and 
Tom  Gallery?  Fine  upstanding  young  people 
with  a  comedy  sense — who  are  very  much  in 
love. 

BILL  REID  has  gone  on  tour  with  his 
mother,  who  i^  to  visit  the  principal  cities  of 
the  northwest  and  Canada  in  support  of  her 
great  anti-narcotic  film,  "Human  Wreckage." 
After  her  personal  appearance  with  the  film  in 
many  important  eastern  cities,  Mrs.  Wallace 
Reid  returned  home  expecting  to  rest.  But 
the  call  for  her  services  and  her  personal  appeal 
in  connection  with  the  picture  was  so  strong 
and  was  sent  to  her  by  all  the  people  who  are 
conducting  the  war  against  dope,  so  that  Mrs. 
Reid  finally  decided  to  go  out  once  more.  But 
she  insisted  this  time  upon  taking  her  six-year 
old  son  with  her.  His  grandmother,  Mrs. 
1  )avenport,  is  al  o  making  the  trip,  to  care  for 
Bill,  while  little  Betty,  Mrs.  Rcid's  small 
daughter,  was  left  at  home  with  a  governess. 

IT  only  took  twelve  days  for  the  news-reels, 
containing  Japanese*  earthquake  pictures,  to 
cover  the  distance  between  Japan  and   New 


THIS  IS  THE  HOUSE' 

T_HiI  JACKIE  BUILT 


York.    Which,  even  i  i  this  day  of  records,  is 
something  to  conjure  with. 

In  the  first  place,  Paramount's  representa- 
tive, in  Japan  (for  the  Paramount  reel  was  the 
first  to.  reach  New  York),  was  injured  in  the 
disaster.  But,  despite  injuries,  he  walked 
twenty-four  miles  to  the  nearest  city  that  had 
been  spared.  And  from  there  his  assistant 
walked  sixty-five  miles  to  Tokyo  to  get  the 
film.  By  the  time  he  returned  to  his  starting 
point,  Kobe,  the  mail  steamer  had  sailed,  and 
so  the  film  was  taken  to  sea  in  an  aeroplane 
and  dropped  upon  the  steamer's  deck.  It  was 
taken  off  at  Quarantine  and  rushed  to  Seattle 
by  seaplane,  and  was  taken  across  the  conti 
nent  by  aeroplane — two  aeroplanes,  in  fact,  for 
the  film  changed  hands  somewhere  in  Mon- 
tana. Five  hours  after  the  machine  settled 
down  on  the  flying  field  at  Mineola  the  film 
was  being  shown  in  the  Broadway  theaters. 

Sounds  something  like  "A  message  to  Gar- 
cia," doesn't  it? 

A  REPORTER  walked  on  the  lot  at  the  Fox 
■**■  Hollywood  studio  recently,  approached 
Charles  Jones  and  announced  that  he  desired 
to  interview  him. 

"  All  right,"  said  Jones.  "  Go  and  write  your 
interview  and  let  me  see  it." 

"Here  it  is,"  countered  the  reporter. 


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102 


Photoplay  Magazine — Advertising  Section 


Tern)         "^^  ^^ '     tmo.-iio 

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The  makers  of  Dcltah  pearls  .ire  now 
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entitling  purchaser  to  Surprise  Gift. 
Jewelers  everywhere  are  displaying 
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Pictured  below,  the  Anniversary 
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•""pIIL  forthcoming  production  of  "The  Life 
_  of  Abraham  Lincoln"  is  one  of  the  most 
important  things  that  have  happened  in  the 
motion  picture  industry  in  several  years.  It 
i»  in  the  nature  of  a  test. 

Does  the  public  really  want  "Bigger  and 
Better  Pictures?"  Is  it  yvorth  while  to  con- 
centrate upon  a  splendid  theme  and  devote 
months  of  serious  effort  to  making  a  great  film 
treatment  of  a  great  subject? 

"Abraham  Lincoln" — its  success  or  failure,  is 
going  to  be  an  ansyver  to  those  questions.  The 
film  has  been  shown  to  some  of  the  greatest 
stars  and  directors  of  the  screen,  and  they  have 
all  agreed  that  it  i^  a  magnificent  screen  effort. 
Frances  Marion,  one  of  the  greatest  screen 
writers  of  the  day,  spent  months  of  research 
and  continued  effort  in  preparing  a  perfect 
script. 

I  have  seen  the  picture  and  consider  it  a  step 
in  the  art  of  motion  pictures  that  cannot  be 


overestimated.  Its  historical  value,  its  won- 
derful picturization  of  a  great  ideal  and  a  great 
hero,  its  dramatic  intensity — these  are  qual- 
ities that  cannot  be  denied. 

V\7K  got  just  a  peek  at  some  of  "The  Thief 
vv  of  Bagdad"  the  other  day — just  enough 
to  make  us  long  for  the  rest. '  In  this  story, 
gathered  from  the  very  best  of  the  "Arabian 
Nights,"  Doug  appears  to  have  the  perfect 
motion  picture  story.  The  screen  lends  itself 
inevery  way  to  express  the  delightful  fantasies, 
the  charming  romance,  the  fairy  tale  drama  of 
those  immortal  tales.  Why  no  one  else  thought 
of  interpreting  such  stories  on  the  screen  be- 
fore, we  don't  knoyv.  The  magic  rug  is  much 
in  evidence,  and,  via  the  silver  sheet,  it  operates 
perfectly.  You  feel  like  a  small  child,  thrilled 
and  happy  once  more,  breathless  and  wide- 
eyed  before  your  Grimm's  fairy  tales. 

[  CONTINUED  ON  PAGE  134  j 


The  Shadow  Stage 

[  CONTINUED  FROM  PAGE  75  ] 


75  CON  AN  DOYLE  RIGHT?— Pat  he 

T_TKRE  is  a  very  interesting  picture.  It  ex- 
-*■  -Eposes  photographically  the  tricks  of  the 
fake  spiritualistic  mediums,  which  have  been 
so  often  exposed  in  type.  It  yvas  made  with 
the  assistance  of  the  Society  of  Psychical 
Research  and  shoyvs  the  methods  of  these 
charlatans  more  thoroughly  than  mere  words 
ever  could.  Whether  you  are  interested  in 
spiritualism  or  not  this  film  is  worth  seeing. 

FORGIVE  AND  FORGET— Apollo 

"""THE  banality  of  the  title  leads  one  to  expect 
*■  just  another  "one  of  those  things,"  but 
on  the  contrary  it's  an  uncommonly  effective 
melodrama.  The  neglected  wife,  compro- 
mising letters,  a  stolen  jewel,  blackmail,  murder 
and  such  like  things  move  about  the  ever- 
faithful  triangle,  but  with  several  ingenious 
tyvists  which  make  it  continuously  interesting. 
It  is  well  acted,  well  directed,  and  well  worth 
the  price  of  admission. 

TIMES  HAVE  CHANGED— Fox 

"NyTOT  very  much  of  a  picture,  with  William 
•'-^'Russell  starring.  The  story  is  in  the  con- 
ventional mold — it  deals  with  the  adventures 
of  a  man  in  uniform,  and  out  of  it.  We  should 
say  in  civilian  clothes,  to  make  the  last  sen- 
tence have  a  moral  ring.  Mabel  Julienne 
Scott  is  Marjorie,  the  heroine,  and  she  looks 
more  attractive  than  she  has  in  some  time. 
A  family  picture. 

THE  WILD  PARTY— Universal 

CHE  started  off  as  a  neyvspaper  reporter,  and 
'"-'got  herself  all  mixed  up  in  a  very  jazzy 
affair  with  libel  suits  and  jail  sentences  and 
love  tangles  and  all  the  rest  of  the  things  that 
go  into  the  average  comedy  drama  of  so-called 
society.  Nothing  to  get  excited  about,  al- 
though the  eyes  of  Gladys  Walton — who 
creates  the  title  role — do  help.  Robert  Ellis 
is  the  leading  man. 

SHIFTING  SANDS— Hodkinson 

T'NESERT  stuff,  with  the  usual  camels  sil- 
-*-^  houetted  against  the  sunset  sky.  The 
story  of  a  man  who— through  an  ideal  of 
honor — insists  upon  losing  himself  upon  the 
sandy  wastes.  Of  course  there's  a  yvoman 
yvho  loves  him,  and  at  last  she  sets  things 
straight.  But  only  after  a  great  storm,  an 
attack  by  bandits,  and  a  couple  of  near-ruina- 
tions. An  importation,  and  not  much  of  a 
picture. 

THE  TAILOR— Fox 

A  N  Al.  St.  John  comedy,  with  the  usual 
-**-amount  of  slap  stick  and  some  of  the  clever 
mechanical  devices  that  stand  out  of  his  tyvo 


rcelers — making  them  different.  Not  much 
of  a  plot — what  comedy  does  have  a  plot? — 
but  there's  a  pretty  leading  lady,  and  there's 
plenty  of  action.  For  the  family — especially 
the  younger  members  of  it. 


I 


THE  LOVE  TRAP— Apollo 

T  is  said  to  be  the  privilege  of  every  yvoman 
ko  shoot  at  least  one  husband— the  preroga- 
tive which  starts  the  plot  boiling  in  this  melo- 
drama. Detectives  and  dictaphones  do  the 
rest.  There  are  complications  galore  and 
mitigating  circumstances;  a  perfect  netyvork 
of  side-tracks  to  one  or  another  of  which  the 
story  is  forever  getting  switched.  This  might 
have  been  a  good  picture. 


HALDANE  OF  THE  SECRET  SERVICE 
— Apollo 

"LJTOLTDINI  as  a  detective  wends  his  way 
-*-  "^-unerringly  through  the  mazes  of  a  gang  of 
counterfeiters.  The  mystery  in  the  film  re- 
mains a  mystery  to  the  very  end.  Written 
loosely  and  amateurishly  with  half  a  dozen 
trails  that  lead  nowhere,  the  piece  neverthe- 
less will  prove  entertaining  to  people  who 
witness  it  with  the  declaration:  "No  questions 
asked."  Houdini  does  one  stunt  that's  yvorth 
the  price  of  admission  to  see. 

/ POLIKUSCHKA— Russian  Artfilms 

npHF  days  of  Russian  serfdom  are  herein 
-*-  depicted.  The  life,  the  tragic  death  of  a 
poor  stableman,  are  sympathetically  played 
by  Ivan  Moskvin,  of  the  Moscoyv  Art  Theater. 
The  film,  made  in  Russia,  contains  a  full 
assortment  of  misfortunes  including  a  suicide, 
a  droyvned  baby,  and  a  double  funeral.  It 
would  hardly  be  chosen  to  while  away  an 
evening  pleasantly. 

GOLD  MADNESS— Renown 

GUY  BATES  POST,  who  recently  gave  up 
doing  something  he  did  capitally,  to  under- 
take something  for  which  he  seems  entirely 
unsuited,  is  the  star  of  this  exceedingly  verbose 
and  generally  cloudy  combination  of  tyvo  or 
three  stories  in  which  mixed  motives  and 
arbitrary  conclusions  lead  to  a  denouement 
foreseen  from  the  start.  It  is  a  Cunvood 
story  of  the  Far  North  containing  a  great  deal 
of  everything  in  general  and  nothing  in 
particular. 

THE  GIRL  FROM  THE  WEST—Aywon 

THIS  offering  neither  requires  nor  deserves 
much  attention.  It  is  an  inane,  and,  in 
the  main,  witless  imitation  of  "Merton  of  the 
Movies,"  and  proves  that  successes  are  not 
written  on  carbon  paper.     The  story  is  com- 


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Photoplay  Magazine — Advertising  Section 


io 


monplace  and  merely  carries  one  past  so  much 
scenery  to  the  theatrical  climax. 

THE  DANCER  OF  THE  NILE—F.  B.  O. 

WILLIAM  P.  S.  EARLE,  instead  of  mov- 
ing his  players  to  Egypt,  tries  moving 
the  Sahara  to  them  with  painted  scenery — a 
new  experiment,  though  not  an  altogether 
successful  one.  Scenery  is  worth-while  only 
in  so  far  as  it  creates  illusion  and  brings  out 
the  values  of  a  play.  In  this  case  it  does 
neither.  The  actors  seem  to  be  competing  to 
see  who  can  give  the  worst  performance,  which 
added  to  florid  titles  and  poor  lighting  gives 
the  piece  a  distinct  Hollywood  flavor. 

THE  DEVIL'S  PARTNER 
— Independent 

ONE  of  the  season's  crop  of  films  to  feel 
the  blighting  influence  of  frost  is  this 
absurd  and  wholly  artificial  melodrama  of 
the  Great  Northwest.  It  is  so  like  hundreds 
of  others  that  have  gone  on  before  that  every 
twist  and  turivof  the  plot  is  known  to  the  pic- 
ture-goer as  soon  as  he  identifies  the  theme. 
It  is  best  described  as  unimportant. 

A  WIFE'S  ROMANCE— Metro 

YOUR  opinion  of  this  picture  depends  en- 
tirely on  how  much  you  enjoy  Clara 
Kimball  Young,  and  upon  your  sentiment 
concerning  love-hungry  wives  with  busy  hus- 
bands.  Judged  strictly  on  its  merits,  it  is 
not  a  good  picture.  Impossibility  piles  upon 
impossibility,  the  characters  are  puppets,  and 
there  is  not  a  single  reasonable  motive.  It  is  a 
problem  play  without  a  problem,  but  with  a 
moral.  The  moral  is:  "If  you  can't  be  good, 
l:c  careful."     Not  a  family  picture. 

WHEN  LAW  CAME  TO  HADES 
— Capital 

THIS  is  a  second  squeeze  of  the  orange  left 
over  from  "The  Covered  Wagon."  It  is 
]  a  stupid  and  trite  story  of  an  old  plainsman 
who  finds  a  baby  and  raises  it  on  maudlin 
sentimentality.  The  wonder  about  pictures 
like  this  is  that  any  producer  could  hope  to 
profitfromsuchane.xhibition.  It  makes  you  feel 
I  hat  it  is  not  the  public  that  has  the  nine-year- 
bid  intelligence. 

TIPPED  OFF— Playgoers 
APPARENTLY  the  Chinese  are  indL- 
-*»-pensable  to  the  underworld.  They  figure 
conspicuously  in  every  movie  that  boasts  a 
gang  of  crooks,  a  missing  necklace,  and  a 
couple  of  dope  fiends.  Of  equal  importance 
is  the  den  to  which  the  innocent  girl  is  lured. 
The  suspense  is  so  well  sustained  in  this 
amateurish  hodge-podge  that  you  never  do 
find  out  what  it's  all  about — nor  do  you  care 
very  much. 


Nervous  Prosperity  and 
Klieg  Eyes 

[CONTINUED  from  pagk  76] 

their  day's  activities.  I  believe  that  this  is 
largely  responsible  for  the  good  health  and 
vigor  of  most  of  them. 

It  has  also  been  my  experience  that,  although 
as  a  class  they  are  not  hypochondriacs,  they 
consult  doctors  more  often  than  people  in  other 
walks  of  life,  and  I  feel  that  in  this  way  they 
very  frequently  prevent  minor  ailments  from 
becoming  worse  and  rapidly  check  serious  ill- 
nesses by  early  attention  to  themselves. 

The  importance  of  both  these  facts  cannot  be- 
too  forcibly  expressed,  and  if  the  re>t  of  the 
world  would  adopt  the  methods  of  the  motion 
picture  profession  with  regard  to  attention  to 
health,  I  believe  that  there  would  be  very  much 
less  illness. 

My  profound  respect,  particularly  for  those 


Teeth  Like  Pearls 

Don't  leave  that  film-coat  on  them 


Wherever  dainty  people  meet,  you  see 
prettier  teeth  today. 

In  old  days  most  teeth  were  film-coated. 
Now  inillions  use  a  new-type  tooth  paste 
which  fights  film. 

Make  this  free  test,  if  only  for  beauty's 
sake.  Ten  days  will  show  you  what  it 
means  to  you. 

Those  cloudy  coats 

Your  teeth  are  coated  with  a  viscous  film. 
You  can  feel  it.  Much  of  it  clings  and  stays 
under  old-way  methods. 

Soon  that  film  dis- 
colors, then  forms  dingy 
coats.  That's  how  teeth 
lose  luster. 

Film  also  causes  most 
tooth  troubles,  and  very 
few  escape  them.  It 
holds  food  substance 

which  ferments  and  forms  acid.  It  holds 
the  acid  in  contact  with  the  teeth  to 
cause  decay.  Germs  breed  by  millions  in 
it.  They,  with  tartar,  are  the  chief  cause 
of  pyorrhea. 

The  new-day  method 

Dental  science  has  found  two  effective 
ways  to  daily  fight  that  film.  One  acts  to 
disintegrate  the  film  at  all  stages  of  forma- 
tion. The  other  removes  it  without  harm- 
ful scouring. 

After  many  careful  tests  these  methods 


Protect  the  Enamel 

Pei>so<lent  disintegrates  the  film. 
then  removes  it  with  an  agent 
far  softer  than  enamel.  Never 
use  a  film  combatiint  which  con- 
tains harsh  grit. 


were  embodied  in  a  new-type  tooth  paste. 
The  name  is  Pepsodent.  Leading  dentists 
the  world  over  began  to  advise  it.  Now 
careful  people  of  some  50  nations  employ  it 
every  day.  And  to  millions  of  homes  it  is 
bringing  a  new  dental  situation. 

Other  discoveries 

A  way  was  also  found  to  multiply  the 
alkalinity  of  the  saliva  as  well  as  its  starch 
digestant.  Those  are  Nature's  agents  for 
neutralizing  acids  and  digesting  starch 
deposits.  Pepsodent 
with  every  use  gives 
them  manifold  effects. 


Thus,  without  harm- 
ful grit,  Pepsodent  is 
doing  what  grit  could 
never  do.  It  has  brought 
a  new  conception  of 
what  clean  teeth  mean. 

A  delightful  test 

We  offer  here  a  delightful  test  which  will 
be  a  revelation. 

Send  coupon  for  the  10-Day  Tube.  Note 
how  clean  the  teeth  feel  after  using.  Mark 
the  absence  of  the  viscous  film.  See  how 
teeth  become  whiter  as  the  film  coats  dis- 
appear. 

What  you  see  and  feel  will  very  soon 
convince  you.  You  will  learn  the  way  to 
benefits  you  want.     Cut  out  coupon  now. 


P<st*s  orient 

10-Day  Tube  Free   ] 

The  New- Day  Dentifrice 

A   scientific   film   combatant,   which 
whitens,  cleans  and  protects  the  teeth 

THE  PEPSODENT  COMPANY 

Dept.  331, 1104So.  Wabash  Ave.,  Chicago   III. 

Mail  10-Day  Tube  of  Pepsodent  to 

without  the  use  of  harmful  grit.     Now 
advised  by  leading  dentists  the  world 

over. 

Only  one  tube  to  a  family. 

When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


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BULGVA 

Watches 

TIME  was  when  a  precise 
watch  was  cumbersome, 
and  a  beautirul  watch  sacrificed 
dependability  to  appearance. 

It  remained  for  Bulova  crafts- 
men and  artists  to  so  skillfully 
combine  inner  accuracy  with 
outer  grace  and  beauty  of  line, 
as  to  make  a  watch  as  light  as  a 
feather,  as  dainty  as  a  fine  cameo, 
and  as  enduring  as  time  itself! 

For  sale  by  all  fine  Jewelers 


Illustrations  are  one-third  smaller 
than  actual  size 


6714  —  18  kt.  solid  white  gold 
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Movement     ....  $45.00 

In  18  kt.  25-year  case.  $35.00 


'  lm 


6720  —  18  kt.  solid  white  gold 
engraved  case;  17  Jewel  Bulova 
Movement     ....  $50.00 

2 5 -year  case;  15  Jewel  $35.00 


6724-F— 18  kt.  solid  white  gold 
engraved  case,  filigree  ends;  17 
Jewel  Bulova  Movement. 

$55.00 


57 16-S— 18  kt.  solid  white  gold 
engraved  case  with  sapphires;  17 
Jewel  Bulova  Movement. 

$75.00 


— =a§£*- 


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BULOVA  WATCH  COMPANY 

Makers  of  Watches  since  JS75 
Fifth  Ave.  at  36th  St.,  New  York 


engaged  in  actually  making  motion  pictures,  is 
due  to  the  fact  that  very  frequently  I  have  seen 
actors  and  actresses  get  out  of  a  sick  bed  to 
complete  their  work  in  a  picture;  I  have  seen 
them  continue  in  a  picture  with  broken  hones, 
and  I  have  seen  them  working  when  the 
severity  of  their  illness  and  the  excruciating 
nature  of  their  pain  was  such  that  no  one  but  a 
stoic  could  have  gone  on. 

Surely  such  devotion  to  one's  profession  is 
worthy  of  the  admiration  not  only  of  their 
physician  but  of  the  countless  millions  of 
people  whom  they  amuse  and  entertain.  My 
experiences  with  motion  picture  folk  have  been 
numerous  and  varied.  The  night  before 
Prohibition  went  into  effect,  my  brother  and  I 
were  the  guests  of  Mme.  Nazimova  at  the 
famous  Ship  Cafe  in  Venice,  California. 
During  the  evening,  a  famous  screen  star  was 
taken  seriously  ill  and  her  escort  asked  me  if  I 
would  attend  her.  Naturally,  the  facilities  Eor 
attending  a  sick  person  in  a  cafe  were  limited 
and,  added  to  my  other  handicaps.  I  was 
annoyed  by  the  persistent  interference  of  a 
middle-aged  woman  who  claimed  to  be  a  friend 
of  my  patient,  but  whom  no  one  seemed  to 
know.  I  finally  ordered  her  out  of  the  ladies' 
room,  where  we  had  taken  the  patient,  and, 
eventually,  with  the  help  of  the  star's  escort 
and  friends,  we  succeeded  in  restoring  her 
sufficiently  to  get  her  back  to  the  table.  Again, 
the  persistent,  mysterious  stranger  insisted  on 
forcing  her  attentions  on  my  patient  who 
suddenly  noticed  the  loss  of  her  gold  mesh  bag 
and  bar  pin.  The  mysterious  stranger 
promptly  produced  them  from  the  depths  of  a 
iarge  handbag  which  she  carried,  explaining 
that  she  had  taken  them  for  safe-keeping. 

SHORTLY  thereafter  the  party  broke  up 
and,  after  escorting  my  patient  to  her  car.  I 
volunteered  to  call  the  following  morning  to 
attend  her  further.  On  telephoning  the  follow- 
ing day,  I  was  informed  that  she  had  recovered 
sufficiently  to  go  to  the  studio  and  I  was  also 
informed  that  the  bar  pin  which  she  had  worn 
on  the  preceding  evening  was  a  cheap  affair  of 
silver  and  rhinestones,  but  that  the  one  which 
was  returned  to  her  by  the  lady  of  mystery  was 
platinum  and  diamonds.  Your  explanation  of 
that  situation  is  probably  as  good  as  mine. 

One  evening  a  man,  who  gave  his  name  as 
Underwood,  asked  me  to  come  immediately  to 
the  Hotel  Majestic  in  New  York  City  to  attend 
a  girl  who  was  seriously  ill.  Although  the 
message  was  mysterious  and  the  nature  of  the 
illness  which  I  was  supposed  to  treat,  very 
vague,  I  called.     On  being  ushered  into  the 


rooms  where  my  patient  was  supposed  to  be,  I 
was  greeted  by  a  strikingly  handsome  Turk, 
whose  immaculate  Occidental  dress  was  set  off 
by  a  turban  headdress.  Across  his  shirt  bosom 
was  the  red  ribbon  of  the  Legion  of  Honor,  and 
suspended  from  his  neck  was  a  medallion  of 
some  order.  He  greeted  me  in  perfect  English 
and,  with  all  the  effusiveness  of  the  Orient, 
bade  me  enter  the  reception  room,  where  I 
beheld  a  group  of  distinguished  looking  Turks 
engaged  in  their  evening  devotions  to  Allah, 
chanting  and  singing  in  their  native  tongue. 
On  the  completion  of  the  ritual.  1  was  formally 
introduced  in  both  Turkish  and  English,  after 
which  I  was  invited  to  partake  of  Turkish 
coffee,  sweetmeats  and  cigarettes.  Feeling 
somewhat  strangely  about  my  surroundings,  I 
made  inquiries  as  to  my  patient.  I  was 
ushered  into  a  bedroom  where  I  saw  a  beautiful 
girl  in  a  state  of  hysteria,  receiving  the  atten- 
tions of  a  trained  nurse.  I  was  about  to  make 
professional  investigations  when  the  door 
opened  and  my  good  friend  and  patient,  Harry 
Reichenbach  (motion  pictures'  highest  salaried 
publicity  man),  entered  and  introduced  himse  If 
to  me  as  the  mysterious  Mr.  Underwood.  This 
was  a  publicity  stunt  for  the  exploitation  of  the 
picture,  "The  Virgin  of  Stamboul."  I  suc- 
ceeded in  keeping  my  name  out  of  the  publicity 
that  followed. 

Several  weeks  after  this  occurred.  I  received 
another  emergency  call  to  the  Lyric  Theater  to 
attend  a  girl  who  became  hysterical  from 
laughing  at  the  picture  called  "The  Connecti- 
cut Yankee."  This,  too.  proved  to  be  a  pub- 
licity stunt  of  my  friend  Reichenbach,  and 
although  the  girl,  a  wonderful  actress,  laughed 
incessantly  lor  hours  even  after  the  admin- 
istration of  narcotic  and  anaesthetic  drugs, 
this  "stunt"  never  appeared  in  the  newspapers 
as  it  happened  to  be  coincident  with  the 
suicide  of  a  prominent  banker.  These  two 
experiences  have  made  me  very  wary  of 
mysterious  calls  for  my  services. 

Those  of  you  who  have  been  movie  fans  for 
some  time  will  recall  a  picture  which  appeared 
shortly  before  the  war,  called  "Her  Obses- 
sion." This  was  written  by  one  of  my  patients 
and  was  inspired  by  treatments  which  she  took 
at  my  office  for  the  reduction  of  weight.  Many 
of  the  scenes  were  actually  taken  in  my  offices 
and  of  the  patient  while  taking  treatments. 
Although  this  picture  was  made  at  least  seven 
years  ago,  it  is  but  recently  that  this  type  of 
treatment  received  publicity  in  the  newspapers 
when  Queen  Mary  of  England  took  the  treat- 
ment to  become  slimmer  for  the  wedding  of  her 
daughter. 


Who  is  the  Most  Beautiful  Woman 
on  the  Screen? 

PHOTOPLAY  MAGAZINE  asks  its  readers  to  answer  this 
question.  In  its  January  issue  Photoplay  will  publish  a 
special  rotogravure  section  containing  the  portraits  of  sixty 
beautiful  screen  actresses.  Photoplay  readers  will  be  asked  to 
make  their  choice  and  send  their  ballots  to  Photoplay  office. 
Each  person  whose  ballot  bears  the  name  of  the  winner  of  this 
contest,  will  receive  a  photograph  of  the  screen's  greatest  beauty, 
autographed  by  her. 

REMEMBER — this  is  not  to  decide  the  greatest  actress  nor 
the  most  popular,  but  the  most  beautiful  woman  on  the  screen. 

Dont  miss  the  January  issue  of  Photoplay 
Out  December  12 


Cvery  advertisement  in 


PHOTOPLAY   MAC  \7.[\::  la 


Photoplay  Magazine — Advertising  Section 


io 


Cretonne  Has  a  Place  in 
the  Home 

[  CONTINUED  FROM  PAGE  93  ] 

ured  walls  and  patterned  rugs.  They  can  be 
severely  tailored  to  fit  the  piece,  or  they  can 
be  made  loose,  all  depending  upon  the  type  of 
furniture  and  room.  The  bottom  can  be  box- 
pleated,  or  shirred.  A  flounce  gives  quite  a 
distinctive  old-fashioned  effect. 


Armand 

COLD  CREAM  POWDER 

InQkUTTLEPlNK&WHlTEBOXES 


As  a  dressing  table  cover,  this  cre- 
tonne blends  in  with  the  chintz 
figured  wall  paper  and  the  quaint, 
braided  rug.  The  effect,  with  the 
cord  hung  mirror,  is  pure  colonial 

Usually,  slip  covers  should  harmonize  with 
the  hangings,  and  they  can  even  be  made  of 
the  same  materials.  But  the  most  important 
thing  about  slip  covers  is  the  fit.  The  making 
of  them  is  exacting,  whether  they  be  tailored 
or  loose-fitting.  Patterns  should  be  carefully 
made,  before  the  goods  is  cut.  Get  a  quantity 
of  wrapping  paper,  lay  it  on  the  chair  or  piece 
in  question  so  that  every  outline  can  be  traced 
to  follow  the  lines  of  the  furniture.     Get  the 

By  contrasting  the  brilliance  of 
cretonne  with  the  fiat  shades  em- 
ployed in  book  bindings,  one  may 
attain  a  remarkable  sense  of  har- 
mony.   A  pleasant  library  corner 


A  GIFT,  no  matter  how  slight  the  cost, 
that  carries  with  it  the  friendly 
message  of  thoughtfulness,  is  always 
appreciated. 

That  is  why  Armand  Cold  Cream 
Powder  has  become  the  happy  gift  choice 
of  so  many  women.  This  wonderful 
Armand  powder — the  original  cold 
cream  powder,  was  the  first  to  show 
women  how  they  could  be  sure  of  look- 
ing their  loveliest,  at  all  times.  Armand 
is  giving  them  the  joy  of  an  attractive 
appearance,  every  day  the  year  through. 
As  a  gift,  it  expresses  your  message 
graciously,  perfectly. 

Included  in  every  dainty  little  pink- 
and-white hat-box,  is  the  Armand  "Creed 
of  Beauty,"  a  little  booklet  that  is  help- 
ing women  the  world  over  to  possess  the 
charm  of  a  beautiful  complexion. 

Armand  Cold  Cream  Powder  is  always 
$1.00  everywhere.  Armand  Compacte, 
in  handsome  gold-lacquer  box,  is  $1.00 
also.  Other  Armand  toilet  things  are 
50  cents  to  $10.00. 

ARMAND— Des  Moines 


-•o^^^38^^M^H»^?^>^lo.- 


When  you  write  to  artverl  isers  please  mention  PHOTOPLAY  MAGAZINE. 


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Photoplay  Magazine — Advertising  Section 


AMERICAN 
STATIONERY 


e« 


TO 


tfr- 

•        Of  all  Christmas  gifts,  none 

is  more  tasteful   than   this. 

■>*  *  The  original  printed  type  of  note 

.•X&      paper — for  informal  correspondence 

T         and  household  business  uses.  Noted 

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^jEJi'ter  homes  everywhere.     Name  and 

Jv   V^"  address  printed  on  National  Bank  Bond  in  rich. 

^S»  dark  blue  ink.      Size  of  sheet  6x7.  envelopes  to 

pi^  match.     Sold  only   by  mail  from  Peru,  Indiana. 

9  No  branch  plants.  Special  facilities  insure  prompt 

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ML  V.  S.   add    10<5fc. 

^?»    \^       The  American  Stationery  Co. 
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J*  200  Sheets 
><j5ix    lOO  Envelopes 


PRINTED  with  any 
NAME  AND  ADDRESS 


THE  AMERICAN  STATIONERY  CO. 
1228Park  Avenue.  Peru.  Indiana 
Send  hie  a  pack  of  200  sheets  and  100  enve- 
lopes of  American  Stationery  to  be  printed 
as  shown  on  attached  slip.  (Note:  To  avoid 
errors,  write  or  print  copy  plainly.) 

MONEY  REFUNDED  IF  YOU  ARE 
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Perfume  $1.00  per  oz.    Toilet  water,    4  oz. 
ff^jtfj     SI. 00.     TaU-um,    25c.      At  druggists    or  de- 
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Flower  Drops  is  the  mo^t  exquisite  perfume 
ever  produced.  Made  without  alcohol.  Bottle 
with  long  glass  stopper,  containing  enough 
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miniature  bottle.     Send  $1.00  for  Souvenir  Box  of  6vc 

25c  bottles— 5  different  odors. 

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BOBBED  HAIR  CURLED 

with  our  BOBBIE  BOBBED  HAIR  CURLER  will 

last  from    1    to  3  weeks.     Once  tried   always  used. 
Send  us  10  2c  stamps  with  the  name  of  your  drug- 
gist for  full  sized  package. 
THE  BEAUTY  LABRATORIES,  Elkhorn,  Wis. 


outlines  of  the  back,  sides,  arms,  seat,  and 
other  parts.  Allow  enough  margin  for  seams, 
and  then  use  this  paper  pattern  for  cutting  the 
goods.  Baste  it  together  and  fit  it  before 
finally  sewing  it  together.  You  will  probably 
find  that  it  needs  an  opening  here  and  there  in 
order  to  get  it  on  the  chair.  These  openings 
can  be  held  together  by  snappers.  If  the  chair 
has  a  separate  cushion,  it  is  better  to  make  a 
separate  cover  for  the  cushion. 

Or  if  the  covering  is  to  be  permanent,  then 
the  yardage  needed  should  be  estimated,  laid 
on  the  piece  in  much  the  same  manner  as  the 
pattern  mentioned  above,  the  edges  cut  to  fit, 
turned  under  and  tacked  with  upholstery  tacks. 
The  corners  should  be  neatly  turned,  and  the 
whole  finished  with  a  braid  fastened  on  with 
tiny  guimp  tacks. 

Cretonnes  can  be  used  for  bedspreads,  in 
which  case  they  should  be  of  the  same  ma- 
terials as  the  draperies.  It  can  be  used  for 
lamp  shades,  for  screens,  for  radiator  covers, 
for  cushion  cases,  and  a  thousand  and  one 
other  things.  It  can  be  had  in  the  brilliant 
colorings  of  modern  designs,  or  in  the  quaint 
patterns  of  antiquity:  soft,  pastel  shades  for 
bedroom  use,  or  the  more  definite  colorings  and 
patterns  for  living  room  and  dining  room.  And 
withal,  cretonne  is  inexpensive. 

If  your  home  lacks  that  necessary  note  of 
cheer  in  its  furnishings,  why  not  introduce  it 
with  this  simple  fabric?  It  truly  is  surprising 
what  a  wealth  of  color  is  added  to  a  room  by 
a  well  chosen  chair  cover,  or  properly  made 
draperies.  Winter  or  summer,  cretonne  has  a 
place  in  your  home  in  the  building  of  beautiful 
rooms. 


How  He  Makes  Them  Act 

[  CONTINUED  FROM  PAGE  53  ] 

Novarro,  yet  actually  he  admires  him  above 
all  players  he  has  directed  and  is  determined 
that  the  world  shall  recognize  in  him  a  great 
artist.  If  you  venture  the  remark  that  the 
boy's  talent  has  been  developed  by  direction, 
he  will  retort  that  it  was  there  all  the  time, 
only  you  didn't  realize  it.  "  'Scaramouche' 
simply  gives  him  greater  opportunity — he  has 
always  been  great." 

With  Alice  Terry,  Ingram's  method  is  differ- 
ent. He  will  rehearse  her  just  as  many  times, 
but  he  doesn't  storm.  For  the  most  part  he 
simply  suggests.  Abrupt  criticism  only  invites 
calamity  with  Alice.  She  is  hypersensitive. 
Upon  one  occasion,  when  he  had  been  a  little 
more  vigorous  than  usual,  the  tears  welled  into 
her  eyes — and  tears  were  not  in  demand  just 
then.  The  rest  of  the  scenes  were  carefully 
punctuated  with,  "That's  fine,  Alice  dear." 
And,  as  Ramon  puts  it,  in  every  scene  in  every 
way  Alice  grew  better  and  better. 

REX  is  a  hard  master  on  the  "set,"  but  his 
favorites  swear  by  him.  Ramon,  of  singular- 
ly appreciative  nature,  would  lie  down  and  be 
kicked  to  death  if  it  would  add  any  realism  to 
the  action. 

During  one  of  Rex's  frenzied  moments 
directing  the  mob  of  "Scaramouche"  when  it 
seemed  fatal  to  interrupt  him,  Crazy  Mary,  one 
of  the  freak  extras  about  Hollywood,  screamed : 
"Mister  Ingram!  Mister  Ingram!"  And 
Mister  Ingram  stopped  to  listen  to  her  advice. 
When  she  had  babbled  to  her  soul's  content,  he- 
insisted  that  she  do  an  Irish  jig.  With  shy 
protests  she  finally  executed  it  in  the  palace  of 
the  Tuileries  while  Marie  Antoinette  and  King 
Louis  patiently  waited  upon  her. 

Crazy  Mary  always  has  a  job  in  Rex's 
pictures.  She  brings  him  holy  medals  and 
blesses  him.  It  is  her  prayer  that  he  may  one 
day  be  converted,  even  though  his  father  is  a 
Protestant  Episcopal  clergyman. 

John  George,  the  dwarf,  is  another  who 
always  gets  a  bit.  And  Ingram  will  not  make 
a  picture  without  Ed.  Connelly,  the  old  char- 
acter actor.  If  there  isn't  a  part  for  him,  he 
has  him  walk  through. 

Rex  is  full  of  Irish  superstitions.    He  believes 


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Children's  Musterole,  like  regular 
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107 


that  dwarfs  bring  luck.  When  he  started  mak- 
ing pictures  at  Universal  several  years  ago,  Pat 
Powers,  one  of  the  Eastern  officials,  wired  him: 
"Davis  says  you  have  put  all  the  dwarfs  in 
California  in  the  stock  company."  Soon  after 
Rex  was  fired. 

Recently  as  he  was  driving  down  Hollywood 
Boulevard  with  a  friend,  a  black  cat  ambled 
into  the  street.  "Oh,  my  God!  stop  the  car!" 
he  gasped.  The  car  stopped,  and  so  did  the 
cat.  Traffic  piled  up,  and  horns  commenced 
screaming  in  protest.  Fortunately  a  little  boy 
rushed  out  and  carried  the  cat  back  to  the 
curb. 

It  was  all  right  to  drive  on — the  cat  hadn't 
crossed  Rex's  path! 

In  the  days  of  his  poverty,  when  he  was 
struggling  for  a  chance  to  express  himself 
directorially.  Rex  drove  a  gay  Stutz  speedster 
around  Hollywood.  Now,  with  success  and 
fortune,  he  rides  in  a  Ford— and  it  isn't  his 
own,  either.    He  says  he  hasn't  time  to  drive. 

Around  Hollywood  he  always  wears  a  khaki 
shirt  and  a  pair  of  ancient  trousers  or  breeches. 
The  first  time  I  ever  saw  him  with  a  collar  on 
was  when  he  left  for  New  York.  They  were 
photographing  him  at  the  station.  He  wore  a 
pearl  grey  felt  hat  and  a  stick,  but  his  coat  was 
wrinkled  behind  and  his  cuffs  were  turned  back 
over  the  sleeves.  I  remarked  the  stunning 
effect. 

"Oh,  I  feel  terrible!"  he  groaned,  with 
anguish. 

Jack  Meador,  Metro  official  in  the  East, 
wired  to  ask  if  he  could  attend  the  premiere  of 
"Scaramouche"  in  Washington,  D.  C,  which 
was  to  be  given  in  complimentary  honor  to  the 
French  ambassador,  with  many  American  and 
foreign  diplomats  present. 

Rex  wired  back: 

"I  can  but  I  hate  to.  I'll  have  to  buy  a 
dinner  jacket." 

He's  probably  the  handsomest  man  in  the 
movies — and  the  worst  dressed. 

NO  power,  not  even  that  of  the  seductive 
Alice,  can  drag  him  into  a  Hollywood  social 
event.  When  he  goes  to  the  Montmartre  cafe 
with  Alice,  who  loves  dancing,  it  is  with  a 
sacrificial  air  becoming  to  a  martyr. 

I  have  never  known  anyone  so  absorbed  in 
work.  It  is  his  life.  Yet  when  he  lets  down 
for  a  moment  of  relaxation  he  declares  he 
detests  it  and  that  he  is  miserable.  "There's 
nothing  to  it,"  he  laments.  "One  year  of 
ecstasy  is  worth  a  life  of  this  drudgery."  .  .  . 
He  is  going  back  to  sculpturing.  Accomplish 
something  worth  while.  He'd  rather  have  one 
beautiful  marble  torso,  his  own  nameless  work, 
discovered  after  he  is  dead,  than  a  million  miles 
of  film.  So  he  asserts.  And  yet  he  has  more 
stories  he  wants  to  film  than  is  possible  in  six 
lives  of  drudgery. 

He  mourns  dolefully  that  life  is  nothing,  all  is 
futility,  he  wishes  he  were  dead.  And  the  next 
minute  wishes  he  could  live  five  thousand  years 
so  he  could  accomplish  something. 

I  don't  know  anyone  Who  has  solved  the 
problem  of  living  so  satisfactorily  as  Rex 
Ingram. 

He  is  absolutely  absorbed  by  his  interest 
in  art. 

He  is  as  nearly  self-sufficient  as  a  human 
being  can  be;  people  mean  little  and  material 
things  less. 

I  might  not  consider  him  a  genius  by  his 
pictures  alone — I'm  not  certain  just  what  con- 
stitutes a  "genius"  in  the  movies — but  in 
person  he  is  my  idea  of  one.  He  has  the  tem- 
perament and  fine  frenzy. 

Yet  if  he  could  have  his  secret  wish  he  would 
be  king  of  Ireland ! 

Planning  a  trip  back  to  Dublin,  he  found  he 
did  not  have  to  pay  the  customary  ten  dollars 
to  the  English  government  for  passport  vise, 
but  only  a  dollar  fee  because  he  is  still  a  subject 
of  Britain. 

"They'll  let  you  in  for  a  dollar,"  remarked  a 
friend,  "but  I'll  bet  they'll  pay  five  hundred  to 
get  you  out." 

Such  is  the  Irish  Scaramouche — a  glittering 
figure  of  singular  fascination. 


THE  DANGER  LINE 


Receding  gums  expose 

THE  DANGER  LINE 

on  your  teeth 

Where  Acid'Erosion  causes  decay,  pyorrhea 
and  many  serious  dental  troubles 


DO  you  ever  notice  that  your 
gums  become  inflamed  and 
swollen  at  times?  This  is  a 
warning  that  you  should  heed.  It  is 
often  caused  by  trouble  at  The 
Danger  Line — where  teeth  meet 
gums. 

The  hard,  protective  enamel  on 
your  teeth  stops  there.  Below  it  is 
a  sensitive,  soft,  bony  structure  that 
decays  easily. 

A  little  triangular  pocket 

The  edges  of  your  gums  do  not 
cling  flush  to  the  surface  of  your 
teeth.  They  are  rounded,  and  form 
a  little  V-shaped  crevice. 

Tiny  food  particles  are  forced 
down  into  this  crevice  when  you  eat. 
They  cause  irritation  and  inflam- 
mation, which  results  in  a  gradual 
recession  of  the  gums,  exposing  The 
Danger   Line. 

These  food  particles 
ferment  and  acids  arc 
formed  which  eat  into 
your  teeth.  This  is  Acid- 
Erosion — the  forerunner 
of  decay  and  pyorrhea. 

Once  decay  reaches  the 
soft,  bony  structure  of 
the  teeth  it  spreads  rap- 
idly. When  the  inside 
pulp  of  the  tooth  is 
affected,  it  aches  and 
soon  dies.  Bacteria 
from  the  diseased  pulp 
and  from  The  Danger 
Line   are   carried   to   the 


CNAMET.      ^^ 

0^ 

« 

n 

I/lr — A 

W  /J*W— -  cumj 

m 

Sectional  drawing  of  an 
ordinary  tooth  and  gums 

"A"  is  The  Danger  Line. 
"B"  is  the  V-shaped  crev- 
ice. "C"  shows  recession 
of  gums.  "D"  is  decay  at 
The  Danger  Line.  Ab- 
scesses  form    at    "E." 


apex  of  the  root  and  form  abscesses. 

Poisons  from  abscesses  and  diseased 
gums  spread  infections  over  the  entire 
body,  often  causing  rheumatism, 
heart-disease  and  serious  illness. 

Squibb's  Dental  Cream 
stops  Acid'Erosion 

Brushing  your  teeth  with  Squibb's 
Dental  Cream  is  a  safe  and  positive 
preventive  for  Acid-Erosion.  This 
remarkable  new  dental  cream  is  made 
with  Squibb's  Milk  of  Magnesia — 
for  years  recognized  by  dentists  and 
physicians  alike  as  the  ideal  antacid. 
It  gets  into  crevices  that  your  tooth- 
brush cannot  reach,  preventing  decay. 
It  gets  into  the  gum-pockets  at  The 
Danger  Line,  neutralizing  all  acids 
there  and  protecting  teeth  and  gums 
from  disease. 

Squibb's  Dental  Cream 
also  cleans  the  teeth  thor- 
oughly, removing  stained 
dental  mucin  and  keeping 
the  teeth  as  clear,  bright 
and  attractive  as  nature 
intended  them  to  be. 
You  will  like  its  pleas- 
ing flavor  and  the  de- 
lightful clean  taste  it 
leaves  in  your  mouth. 

If  your  druggist 
hasn't  Squibb's  Dental 
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Not  in  the  Scenario 


dbout 

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CONTINUED  FROM  PAGE  5; 


"But  surely — "  he  began  in  quick  protest. 

"Some  day,  when  he  is  ready,  and  satisfied. 
But  listen.  Most  of  that  is  finished.  He  is 
working  on  an  opera  now,  the  big  thing  in  his 
life." 

She  turned  and  began  to  sketch  certain  parts 
of  it,  and  as  Larry  listened  he  became  con- 
scious of  only  two  things,  of  the  enravishing 
quality  of  the  music  and  of  billowy  clouds  of 
reddish  gold  hair  that  tumbled  to  the  floor 
behind  the  bench. 

He  had  no  thought  but  that  he  and  this  girl 
were  alone  in  a  world  of  their  own.  The 
wilderness,  the  movies,  the  mystery  of  her 
presence  there,  everything  faded.  For  a  full 
minute  he  was  not  even  conscious  that  the 
soft,  entrancing  aura  that  had  pervaded  the 
room  had  dissolved,  and  then  suddenly  his 
eyes  were  jerked  to  one  side  and  he  saw  Signor 
Zappettini  standing  in  the  door. 

Without  thought,  Larry  leaped  to  his  feet 
and  bowed  in  a  manner  that  was  nothing  less 
than  reverent.  At  the  sound  of  his  boots  on 
the  floor  Marguerite  turned. 

"Oh,  maestro!"  she  exclaimed  in  confusion. 
"You  are  not  angry?  But  he  knew  of  you. 
He  was  whistling  that  first  capriccio  when  I 
saw  him  at  the  dock." 

"Hush,  child,"  the  old  man  said  gently  as 
he  came  forward.  "  You  have  disobeyed,  but 
I  forgive  because  I  saw  his  face  as  you  played. 
He  loves  what  is  our  life  and  that  is  enough." 

He  turned  and  extended  his  hand  to  Larry. 

"My  name  is  Moncrieff,  Larry  Moncrieff," 
the  young  man  said. 

"A  name  means  nothing,  sir.  I  saw  your 
face  as  she  played,  and  that  is  enough.  Are 
you,  too,  an  artist?" 

"I'd  give  anything  if  I  were.  I  can  only 
listen." 

"A  gift  in  itself,  and  you  excel  in  it.  But  w  ill 
you  do  me  a  favor,  sir?  " 

"Anything!"  Larry  exclaimed  eagerly. 

"Then  please  do  not,  when  you  go  to  the 
world  outside,  mention  having  seen  me.  For 
eight  years  I  have  been  hidden,  not  because  I 
had  to  but  because  I  wished  to.  And  I  am  not 
ready — yet." 

"I  understand,"  Larry  said.  "But  it  will 
not  be  long,  maestro?" 

He  spoke  the  word  haltingly.  It  was  the 
first  time  he  had  ever  used  it,  or  had  met  a 
great  musician. 

"Perhaps  not  long,"  Zappettini  answered 
slowly.  "There  are  several  things,  and  I  am 
not  satisfied  yet." 

Marguerite  had  risen  from  the  piano  and 
crossed  the  room  to  the  two  men. 

"You  are  very  good,  maestro,  not  to  scold 
me,"  she  said  softly  as  she  slipped  an  arm 
through  his  and  squeezed  it  affectionately. 

"If  you  had  not  the  spirit  to  break  a  com- 
mand I  could  not  love  you,  little  one,"  he 
answered.  "But  listen,"  and  he  strode  for- 
ward to  the  piano. 

"The  thing  that  bothered  me.  Remember, 
cara  mia?  I  got  it  this  afternoon.  It  is  like 
this." 

T_IE  played  a  few  bars  and  then  turned,  radi- 
-*•  -*-ant  and  exultant,  to  the  girl.  She  ap- 
plauded joyously  and  in  a  moment  they  were 
deep  in  a  discussion,  often  too  technical  for 
Larry  to  glimpse  their  meaning,  but  one  which 
held  him  nevertheless. 

And  for  a  long  time  he  listened  as  both  the 
girl  and  Zappettini  played  and  talked.  Some- 
times he  was  drawn  into  the  discussion  but 
usually  to  his  discomfort.  He  was  content  to 
sit  and  listen,  and  to  marvel,  until  a  slanting 
sunbeam  touched  his  face.  He  looked  at  his 
watch  and  jumped  to  his  feet. 

"It  has  been  very  wonderful  of  you  to  be  so 
good  to  me,"  he  said  awkwardly.  "I  have 
never  enjoyed  an  afternoon  so  in  my  life." 

"Be  silent,  sir,"  the  maestro  said  gently. 
"In  eight  years  there  has  been   no  one  to 


listen.  An  artist  without  an  audience,  well — " 
and  he  shrugged  his  shoulders  significantly. 

"And  may  1  come  again?"  Larry  ventured 
timidly. 

Instantly  Zappettini's  manner  changed. 

"Once  more,"  he  said  somewhat  sharply,  and 
he  bowed  slightly  in  dismissal. 

Fifteen  minutes  later  Larry  grounded  his 
canoe  on  the  little  beach  before  the  camp. 
Dave  Mann  was  wailing  impatiently,  and  con- 
fidently. Behind  him  were  the  members  of  the 
company. 

"Well?"  the  director  demanded.  "How 
about  it?    Did  you  fix  it  up  for  us?" 

Larry,  still  under  the  spell  of  his  three  hours 
across  the  bay,  stared  at  him  blankly. 

"Old  fellow  give  in?"  Dave  asked  eagerly. 
"Ought  to.  You  must  have  made  some  >ort  of 
a  hit  to  stay  there  so  long.  Can  we  shoot  the 
rest  of  it  tomorrow?  " 

"Why — why,"  Larry  stammered  in  em- 
barrassment, "I  didn't  ask  him." 

"Didn't  ask  him!"  and  Dave  grew  apoplec- 
tic.   "Why  in  the  name  of  hell  didn't  you?  " 

"I  forgot  all  about  it.    I— I—" 

Larry  stopped,  suddenly  aware  of  what  he 
had  done  and  of  the  spectacle  he  was  making 
of  himself.    Peggy  Dare  tittered. 

"Well,  I'll  be — "  Dave  began,  and  then  he 
turned  and  strode  away  to  his  tent. 

CHAPTER  IV 
A  FTER   supper   that   night   Dave   calmed 
■**-down  enough  to  trust  himself  to  talk  to 
Larry. 

"Didn't  you  know  that  I  sent  you  over  there 
for  that  alone?"  he  demanded. 

"I  know,  Dave,"  Larry  pleaded,  "but  he 
wasn't  there  until  later.  And  when  he  came  he 
talked  music  all  the  time  and  I  didn't  get  a 
chance." 

"But  the  girl?  Won't  she  put  in  a  word  for 
us?    How  did  she  act?" 

"She  was  verv  friendly,  and  I  think  she 
would." 

"Of  course.  I  knew  your  name  and  your 
face  would  turn  the  trick." 

"But  she  had  never  heard  of  me.  My  name 
didn't  mean  anything  to  her." 

Dave  stared  at  the  actor  in  amazement. 

"Never  heard  of  you!"  he  cried.  "Well, 
they  are  dead  ones.  I  think  I  had  better  go 
over  there  myself." 

Larry  remembered  the  gentle,  gracious 
maestro  as  he  had  first  seen  him  that  morning 
and  he  felt  certain  of  what  would  happen  if 
Dave  intruded  again.  Moreover,  he  had 
sensed  added  mystery  that  afternoon.  The 
fact  that  these  two  had  shut  themselves  off  for 
eight  years  was  in  itself  significant  and  there 
was  that  final  concession  by  Zappettini  when 
he  had  said,  "Once  more." 

"You'd  better  leave  this  to  me,"  Larry 
urged.  "You  got  him  all  stirred  up  this  morn- 
ing, remember." 

"Yes,  and  the  girl  got  you  so  fussed  up  this 
afternoon  that  you  forgot  what  you  went  for. 
I  can't  waste  any  more  time  here.  Hey,  one  of 
you  fellows!    Paddle  me  across  to  that  house." 

One  of  the  canoemen  came  forward,  and,  in 
spite  of  Larry's  whispered  pleading,  Dave  de- 
parted. 

But  the  director  never  reached  the  cabin  on 
the  hillside.  Signor  Zappettini  evidently  hed 
seen  him  coming,  for  he  met  him  at  the  dock. 

"I  want  to  apologize,"  Dave  began  at  once, 
"for  the  manner  in  which  we  took  possession  of 
your  house  this  morning.  But  I  assure  you  we 
believed  the  place  was  deserted  and  perhaps,  as 
a  fellow  artist,  you  can  understand  how  I  was 
carried  away  by  the  beauty  of  your  home." 

Zappettini  raised  a  hand. 

"Just  a  moment.  Did  you  say  'fellow 
artist'?" 

"Of  course.  I  saw  all  that  music  and  the 
piano  and  the  blank  pages  you'd  been  writing 
on.    And  I  thought  you'd  understand.    I  know 


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109 


my  art  is  newer,  an  infant  compared  to  yours, 
but  no  art  has  grown  and  expanded,  has 
assumed  such  far-reaching  proportions,  as  that 
of  the  moving  picture.    Nothing  has — " 

Again  Zappettini  raised  a  hand. 

"Just  a  moment.    What  art  is  this?" 

"The  motion  pictures,  the  cinema,  the 
movies." 

"And  this  morning  when  I  found  you  here 
you  were  making  motion  pictures?  You  call 
that  monkey-shining  art?  You  claim  to  be  an 
artist  because  of  those  queer  capers  and  unin- 
telligible shouts?    Bah!" 

"I've  seen  orchestra  conductors  act  far 
worse  and  to  no  purpose,"  Dave  retorted 
angrily. 

"Because  you  are  not  an  artist  and  do  not 
understand  the  artistic  soul.  And  those 
women  painted  so  foolishly,  and  one  of  them 
desecrating  my  piano  with  such  sounds!  Bah! 
There  is  no  art  in  you." 

"But  listen,"  Dave  pleaded.  "We  have 
gone  to  great  expense  to  make  this  picture.  An 
hour  is  all  I  want.  It  means  thousands  and 
I  housands  of  dollars  to  my  people.  Let  me  use 
your  veranda  for  only  an  hour  more  and  I'll 
iiot  bother  you  again." 

"Thousands  of  dollars,  eh?  I  thought  so. 
That  is  the  art  in  the  motion  pictures.  I  have 
always  suspected  it.  I  saw  one  twelve  years 
ago." 

"I'll  pay  well  for  the  use  of  your  place.  I'll 
guarantee  you  against  all  possible  damage. 
I'll  not  take  more  than  an  hour.  I  won't  dis- 
turb you  further." 

DAVE  had  sensed  violent  opposition  and  he 
was  ready  to  debase  himself  to  gain  his  end. 

"  No,"  Signor  Zappettini  answered  emphatic- 
ally. "You  came  without  permission.  You 
took  what  you  had  no  right  to  take.  The  con- 
sequences are  on  your  head." 

"But  the  house  was  deserted.  There  was  no 
one  around,  no  one  to  ask." 

"We  were  detained  by  a  storm  or  we  would 
have  been  back  last  night.  No!  Your  request 
has  become  an  impertinence." 

"By  gad!"  Dave  exclaimed.  "You  can't 
come  that  on  me.  You're  in  none  too  good  a 
position  yourself,  living  up  here  alone  with  a 
pretty  girl  like  this.  I  knew  there  was  some- 
thing funny  about  it.  And  when  I  get  out 
I'll—" 

Zappettini  charged  down  the  dock  toward 
the  canoe. 

"Get  out!"  he  cried  so  furiously  the  canoe- 
man  shoved  away.  "Don't  ever  dare  come 
near  this  place  again." 

He  waved  a  stout  cane  above  his  head.  hi> 
face  became  red  with  fury,  he  forgot  the  perfect 
English  he  always  used,  perfect  except  for  a 
slight  accent,  and  resorted  to  his  more  fluent 
Italian  that  he  might  express  himself  fully. 

And  he  made  Dave  Mann  understand. 

"  Go  on  back,"  Dave  muttered  to  the  canoe- 
man  in  the  midst  of  the  tirade.  "Nuts.  Pure 
nuts.    Might  as  well  argue  with  a  rattlesnake." 

Dave  himself  was  black  with  rage  when  he 
returned  to  camp.  He  stormed  past  the 
assembled  members  of  his  company  to  his  tent 
and  they  did  not  see  him  again  that  night. 

The  next  morning  he  aroused  them  with 
orders  to  pack  up  immediately,  and  after 
breakfast  the  flotilla  of  huge  freight  canoes 
streamed  down  the  shore  of  the  bay  to  the  open 
lake.  An  hour  and  a  half  later  they  arrived  at 
the  gorge  of  the  White  Otter  River,  the  spot 
which  had  drawn  them  all  the  way  from  New 
Jersey  to  make  a  picture,  and  found  a  camping 
place  on  the  lake  shore  near  the  mouth  of  the 
stream. 

Once  Dave  Mann  had  inspected  the  site  for 
the  big  scenes  in  his  picture,  the  Wolf-jaw 
rapids,  the  falls,  the  narrow,  dangerous  portage 
trail  upon  which  the  battle  was  to  be  fought, 
all  backed  by  the  rugged,  savage  beauty  of  the 
Canadian  wilderness,  he  seemed  to  forget  com- 
pletely the  fact  that  he  had  failed  at  Signor 
Zappettini's  cabin. 

He  became  wildly  enthusiastic  and  with  Phil 
Sherwood,  Roy  Qtiigley,  Bill  Taylor,  the  head 
canoeman,  and  Nat  Haskell,  Larry's  double,  he  I 


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began  at  once  to  scramble  over  the  rocks  and 
down  the  cliffs  to  determine  the  advantageous 
spots  for  the  camera  and  for  the  principal  bits 
of  action  in  the  story. 

"Wonderful!  wonderful!  "he  repeated.  "The 
stills  didn't  do  this  justice.  Gad!  The  scene 
fits  into  the  very  spirit  of  the  picture,  savage 
yet  beautiful,  primitive,  forbidding,  ruthless, 
and  yet  always  with  the  peace  of  the  Canadian 
forest  in  the  background." 

He  raved  with  increasing  enthusiasm  as  they 
went  from  one  spot  to  another  until  a  stranger 
would  have  believed  that  Dave  had  lost  his 
head  completely.  But  Sherwood  and  Quigley 
knew  his  mind  was  functioning  rapidly  and 
surely  despite  the  outward  evidences  of  excite- 
ment. His  questions  gave  them  an  indication 
of  his  thoughts  and  when  at  last  they  returned 
to  camp  and  the  luncheon  that  was  waiting  for 
them  they  knew  the  main  details  of  the  picture 
had  been  decided. 

"All  preliminary  work  this  afternoon,"  he 
announced  when  the  meal  was  finished.  "Peg, 
you  and  Fay  and  Larry  and  Truman  can  give 
the  mosquitoes  a  treat.  Nat,  I'll  want  you 
again  to  decide  on  those  stunts.  Bill,  bring  a 
couple  of  your  good  men  along,  and  we'll  need 
one  of  the  big  canoes  at  the  foot  of  the  rapids." 

As  was  often  the  case,  Larry  was  soon  left  to 
himself.  Truman  Harlow  promptly  went  to 
sleep  and  Peggy  and  Fay  retired  to  their  tent  to 
escape  the  insects.  Larry  climbed  to  the  rim 
of  the  gorge  and  walked  along  it,  watching  the 
boiling,  rushing  water  beneath.  He  came  out 
at  last  at  the  lower  end  and  walked  along  the 
lake  shore  to  the  camp. 

The  small  canoe  lay  on  the  beach  and  he  set 
it  in  the  water  and  paddled  out  into  the  lake. 

It  is  doubtful  if  Larry's  plan  had  yet  been 
formed.  To  him  the  canoe  had  become  a 
symbol  of  the  entrancing  wilderness  which  he 
had  just  entered  for  the  first  time.  He  had 
taken  naturally  to  the  paddle,  had  delighted 
even  in  the  weariness  of  a  long  day's  journey, 
and  now,  with  an  empty  afternoon  before  him, 
he  turned  to  the  water  as  eagerly  as  a  boy. 

But  once  he  had  started,  creeping  slowly 
along  the  shore,  reveling  in  the  wild  beauty, 
grasping  delightedly  at  the  suggestive  symbols 
of  this  land  of  fur  and  romance,  other  thoughts 
came  to  disturb  him. 

First,  and  he  believed  it  the  chief,  was  the 
fact  that  he  had  failed  Dave  Mann.  He  knew 
the  moment  had  been  auspicious  when  Signor 
Zappettini  had  become  so  gracious  the  previous 
afternoon  and  that  he,  enthralled,  had  failed  to 
take  advantage  of  it. 

BUT  while  he  conscientiously  went  over  these 
facts  his  thoughts  kept  reverting  to  Mar- 
guerite Temple.  He  still  thrilled  to  that  deli- 
cious moment  when  he  discovered  that  she  had 
never  heard  of  him,  that  here  was  a  woman  he 
could  meet  without  thought  of  the  two  hundred 
mash  notes  that  arrived  each  day,  one  to  whom 
he  could  be  a  plain,  ordinary  man  in  a  wool 
shirt. 

He  thrilled  also  to  the  thought  of  her  beauty, 
her  naturalness  and  her  love  of  music.  The  mere 
absence  of  rouge  was  a  matter  of  exquisite 
delight.  Somehow,  he  felt,  this  girl  seemed  to 
fit  so  perfectly  into  her  surroundings,  seemed 
so  much  a  part  of  this  entrancing  land  of  which 
he  had  dreamed  since  boyhood  and  which  in 
the  reality  had  exceeded  his  dreams. 

A  half-mile  slipped  by,  and  a  mile,  and  at 
last  he  turned  a  point  to  find  himself  facing  an 
open  stretch  of  water  they  had  crossed  that 
morning.  Beyond  that,  he  thought,  through  a 
narrow  opening  and  across  another  open  place. 
was  the  mouth  of  the  bay  on  which  stood 
Marguerite's  home.  He  glanced  at  his  watch, 
hesitated  a  moment,  and  then  began  to  paddle 
vigorously. 

"I  owe  it  to  Dave,"  he  muttered.  "I'll 
square  it  with  him." 

The  open  stretches  and  the  narrow  passages 
were  far  longer  than  he  had  supposed  and  it 
was  an  hour  before  he  turned  into  the  now 
familiar  bay.  At  last  the  cabin  appeared 
through  the  Norways,  but  as  he  approached  the 
dock  he  suddenly  ceased  paddling. 

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A  sound,  so  high,  so  clear,  so  enravishing  it 
held  him  spellbound,  had  flashed  across  the 
water  like  a  shaft  of  silvery  moonlight  through 
a  dark  forest.  For  a  moment  he  did  not  under- 
stand and  then,  when  it  came  again,  more 
softly  and  yet  with  such  amazing  force  and 
volume,  he  knew  he  was  listening  to  a  woman 
singing  and  that  the  woman  was  Marguerite 
Temple. 

He  recognized  the  song  at  once.  It  was  from 
the  opera  she  had  sketched  for  him  the  day 
before,  but  this  was  of  little  significance,  en- 
trancing as  the  music  was.  The  thing  that 
impressed  him  most  was  the  fact  that  he  was 
hearing  a  voice  that  would  have  caused  a 
furore  even  in  Paris  or  Milan. 

Each  winter  in  New  York,  even  before  he 
had  entered  the  movies,  Larry  had  rarely 
missed  hearing  grand  opera.  He  was  familial 
with  the  voices  of  all  the  prima  donnas,  could 
have  named  each  in  the  dark,  and  now,  he 
knew,  he  was  listening  to  one  more  wonderful 
than  he  had  ever  heard  before. 

"pOR  ten  minutes  he  sat  there  in  the  canoe 
f-  without  moving.  At  last  the  girl  ceased  sing- 
ing and,  still  in  a  daze,  he  paddled  quickly  t< 
the  dock,  tied  his  canoe  and  ran  up  the  trai 
toward  the  cabin.  Half  way  there  he  heard  he 
begin  again  and  he  went  slowly,  walking  softh 
that  he  might  not  miss  a  note  of  it.  He  madi 
his  way  cautiously  to  an  open  window  of  thi 
living  room  on  the  side  hill  and  stood  then 
waiting  until  she  had  finished. 

Closer  now,  with  the  song  pouring  from  the 
window  like  a  flood  of  brilliant  moonlight,  he 
knew  that  distance  had  not  lent  enchantment, 
that  the  first  surprise  had  not  led  him  to  over 
estimation.    He  began  to  sense  something 
what  Zappettini  had  meant  when  he  had  sai< 
that  he  was  not  quite  ready  to  take  his  music  t< 
the  world.    It  was  not  of  his  own  work  he  hat 
been  thinking,  but  of  this  girl's  voice. 

Before  Larry  had  time  to  carry  this  though 
further  Marguerite  broke  off  in  the  middle  of 
high  note.    In  the  silence  that  followed  Lari 
believed  he  heard  a  little  gasp  of  fear,  bu' 
before  he  could  move  she  spoke. 

"Who  are  you?" 

It  was  barely  more  than  a  whisper  and  again 
Larry  caught  the  note  of  terror.  He  started 
quickly  toward  the  door,  but  at  the  first  step  a 
man's  voice  halted  him  and  he  heard: 

"Don't  you  know  your  own  father?" 

It  was  almost  a  whine,  and  in  the  silence  that 
followed  Larry  stood  motionless  beneath  the 
window. 

"How  did  you  find  me  here?"  Marguerite 
asked  at  last. 

"Find  you!  I've  done  nothing  for  eight 
years  but  look  for  you.  Did  you  think  I  was 
going  to  let  a  man  steal  my  own  daughter  and 
make  no  effort  to  get  her  back,  the  little  girl  I 
loved  and  was  all  I  had  in  the  world?  " 

Larry  recovered  enough  to  realize  that  he 
was  eavesdropping,  but  as  he  started  to  steal 
away  her  voice  arrested  him. 

"It  has  done  you  no  good.  I  am  not  going 
back.  I've  always  been  glad  I  was  stolen  from 
you." 

"Rather  stay  with  a  murderer  than  go  with 
your  own  kin,  would  you?"  the  man  snarled. 
"What's  he  done  to  you  that  you  act  like 
this?" 

"Murderer!"  Marguerite  gasped.  "What 
do  you  mean?  The  maestro  never — you  don't 
know  what  you  are  saying.  He  couldn't!  He's 
too  kind,  too  good." 

"Maestro,  eh?  So  you  call  that  wop  piano 
player  that?  And  you  think  him  kind  and 
good,  eh?  But  he  could  fool  you  like  he  fooled 
the  rest.  He's  a  keen  one.  He  gave  the  slip  to 
the  best  detectives  in  the  country  even  if  it  was 
three  years  before  they  stopped  looking  for  him 
and  there  was  a  big  reward  out.  Kind  and 
good,  eh?  And  he  stuck  a  knife  between  a 
man's  ribs." 

Larry  no  longer  thought  of  eavesdropping. 
Horror  held  him  to  the  spot,  horror  and  fear, 
for  he  had  detected  a  note  in  the  man's  voice 
that  he  did  not  like,  a  hidden  threat,  and  he  felt 
that  Marguerite  was  in  danger. 


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i  i  i 


"You  lie!"  the  girl  cried  furiously.  "The 
maestro  could  not  do  such  a  thing.  Go  away 
from  here!  You  can't  say  such  things  to  me. 
Go  away!" 

"Tut,  tut,  little  one.  You  must  not  talk 
that  way  to  your  father.  And  when  I  go, 
remember  that  you  are  going  with  me.  I 
haven't  hunted  these  eight  years  for  nothing." 

"I'll  not!    I'll  not  leave  the  maestro." 

There  was  a  silence,  and  Larry's  muscles 
tensed  as  he  believed  he  heard  footsteps,  soft 
and  stealthy,  on  the  floor  of  the  living  room. 
And  then  again  came  the  man's  voice. 

"You'll  not  go  with  me?"  and  there  was  a 
note  of  cruelty  as  well  as  a  threat  in  his  tone. 
"Do  you  think  I'm  a  fool?  Do  you  think  I 
spent  all  this  time  hunting  for  you  on  the 
chance  you'd  turn  me  down?" 

"I  don't  care  what  you  did,"  Marguerite 
interrupted.  "I  will  not  leave  the  maestro. 
He  is  the  only  person  in  the  world  who  has  been 
kind  and  good  to  me.  I  love  him.  I'd  die  if  I 
had  to  leave  him.  And  as  for  what  you  say  of 
him,  it's  a  lie.  He  never  did  such  a  thing.  He 
never  did!" 

Larry  heard  a  low  chuckle,  and  then  the  man 
spoke. 

"Listen,  girl,  and  stop  that  silly  talk.  To- 
morrow morning  at  six  o'clock  I'll  be  waiting 
for  you  on  the  point  down  the  lake,  the  one  on 
this  side  of  the  bay,  just  at  the  mouth,  where 
there's  a  short  stretch  of  sand  beach." 

"  I  won't  come,  I  tell  you ! "  Marguerite  cried. 

"Wait  a  moment.  You'll  be  there.  I've 
seen  to  that.  You'll  be  there  or  the  bulls  will 
come  in  and  get  your  maestro  and  take  him 
away  to  the  electric  chair." 

Larry  heard  a  gasp  of  horror  and  then  the 
girl  burst  forth  furiously. 

"It's  a  lie!  All  a  lie!  He  never  did  such  a 
thing.  You  can't  scare  me  with  a  story  like 
that." 

"Lie,  eh?  You're  lying.  You  weren't  so 
young  that  night  that  you  didn't  know  what 
was  going  on .  I  saw  you  myself,  coming  out  of 
your  room.  And  there  in  the  hall,  lying  right 
across  your  door!    What  was  it?    You  know." 

He  stopped  speaking  to  laugh. 

"A  body,  wasn't  it?  A  dead  man.  A  man 
who  had  been  alive  only  a  few  minutes  before. 
And  there  was  a  knife  on  the  floor,  wasn't 
there?    A  thin-bladed  one,  the  sort  wops  use. 

"You  saw  the  bod)'  there,  all  right.  You 
had  to  step  over  it  to  get  out.  But  let  me  tell 
you  something  you  didn't  see,  something  I  saw 
from  a  door  down  the  hall,  something  nobody 
but  me  knows.  I  saw  your  wop  friend  standing 
over  that  man  with  the  wop  knife  in  his  hand 
and  I  saw  him  take  things  from  that  man's 
pocket.  Letters,  they  were,  letters  written  by 
a  woman." 

"You  lie!"  Marguerite  cried. 

"Lie,  eh?  Listen.  The  police  have  that 
dagger  yet,  and  they  have  the  fingerprints  on 
the  bloody  handle  of  it.  And  there's  still  that 
reward.  The  dead  man  was  a  lawyer,  a  big 
one.    He  had  a  lot  of  friends. 

"And  those  letters  that  were  in  his  pocket. 
Do  you  know  where  they  are  now?  They're  in 
the  wop's  trunk,  in  his  room  there,  that  old 
leather  one.  Go  see  for  yourself.  Go  to  the 
bottom  of  it,  down  past  all  those  papers  and 
things.  You'll  see  them,  five  of  them,  in  blue 
envelopes." 

"Do  you  think  I  am  a  fool?"  Marguerite 
cried  contemptuously.  "How  do  you  know 
what  is  in  that  trunk?  " 

"I  didn't  know  until  two  days  ago." 

LARRY'S  own  mind  leaped  Lack  to  his  first 
visit  to  the  cabin  and  the  bound  and  gagged 
deaf-mute  in  an  outbuilding.  That  the  same 
thought  had  come  to  the  girl  he  felt  sure,  for 
she  remained  silent. 

"The  wop  and  what  he  did  to  the  lawyer 
don't  matter  to  me,"  the  father  continued. 
"But  he  stole  my  little  girl,  all  I  have  in  the 
world,  and  I  want  her  back.  I've  spent  eight 
years  looking  for  you.  If  you  think  as  much  of 
him  as  you  say  you'll  be  down  the  shore  at  six 
o'clock  in  the  morning." 


Two  "reel"  thrillers 
in  these  Christmas  Greetings 

One  is  Bebe  and  One  is  Shirley 

Bebe's  greeting  is  as  rollicking  and  infectious 
as  is  her  characterization  on  the  screen.  She 
talks  just  like  you  want  her  to  talk.  And  Shirley '  s 
"Christmas  in  Hollywood"  is  truly  Shirley — 
her  own  inimitable  self.  Either  one  or  both  of 
these  records  will  make  a  "hit"  with  the  fans 
this  year.  You'll  find  these  and  eight  others  at 
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fully  reflecting  the  holiday  spirit.  Make  your 
selections  early. 


CHRISTMAS  GREETING  RECORDS 


1.  '  Christmas  in  Hollywood" 

2.  "Christmas  Greetings" 

3.  "God  Bless  Us  All" 

4.  "Always  Christmas" 

5.  "The  Lord's  Prayer" 

6.  "The  23rd  Psalm" 

7.  "Christmas  and  Father" 


by  Shirley  Mason 

by  'Bebe  'Daniels 

by  Wilbur  T>.  Nesbit 

by  Wilbur  T>.  Nesbit 

by  William  Jennings  'Bryan 

by  William  Jennings  'Bryan 

by  Abe  Martin  (Kin  Hubbard) 


8.  "Andy  Gump's  Holiday  Greeting"  by  Andy  Gump  (Sid  Smith) 

9.  "The  Dream  of  The  World"  by  Meredith  Nicholson 
10.  "My  Christmas  Wish"  by  Mitzi  Hajos 

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"I  won't!  I  won't!"  Marguerite  cried.  "I 
won't  leave  him  like  that!" 

"I'm  not  worryin'  but  what  you  will.  I've 
got  to  go  now.  Risky  staying  here  so  long. 
But  look  in  the  trunk  when  I'm  gone.  See  if 
you  find  what  I  said.  And  then  be  there  to- 
morrow morning  at  six  o'clock.  If  you  ain't 
there  I  won't  wait.  I'll  go  right  on  out  and  tell 
the  police." 

Marguerite  did  not  speak  and  Larry  heard 
the  man  walk  across  the  room  to  the  rear  door. 

"Better  leave  the  wop  a  note  saying  you've 
discovered  all,  or  you're  tired  of  it  here,  some- 
thing like  that,"  he  advised.  "  If  he  follows  us 
I'll  turn  him  over  sure." 

CHAPTER  V 

HTHL  Larry  Moncrieff  of  the  screen  would 
*•  rush  in  at  that  moment,  give  the  terrified 
girl  a  reassuring  embrace  and  then  dash  on  in  a 
thrilling  pursuit  of  the  villain.  The  young  man 
under  the  window  did  not  move. 

More  than  that,  he  didn't  know  what  he 
should  do.  His  desire  was  to  go  to  Marguerite 
at  once,  but  common  sense  told  him  that  no 
matter  how  much  his  sympathies  had  been 
aroused  he  was  to  her  nothing  more  than  a 
stranger.  An  inherent  diffidence  accentuated 
by  the  fact  that  he  had  been  eavesdropping 
added  to  his  confusion. 

And  as  he  stood  there  while  emotions,  im- 
pulses and  repressions  warred,  he  was  startled 
by  an  exclamation  above  his  head.  He  looked 
up  to  see  Marguerite  in  the  window. 

"You — you — did  you  hear?"  she  whispered. 

Larry  nodded  and  then  he  burst  forth. 

"I  didn't  mean  to!  I  was  listening  to  you 
sing.  I  think  I  was  in  some  sort  of  spell.  And 
then  when  he  came  in  and  said  he  was  your 
father  I  started  to  leave.  But  you. seemed 
afraid  and — " 

"It  doesn't  matter,"  she  said  dully.  "Only 
you  must  not  tell  the  maestro." 

"But  look  here,"  Larry  protested.  "You 
can't  handle  a  thing  like  this  by  yourself." 

"I'll  have  to.  Don't  you  see?  It's  got  to  be 
the  maestro  or  myself  and  I  can't  let  the 
maestro  sacrifice  anything  more  for  me." 

Larry  stared  at  her. 

"You  don't  mean — ?"  he  gasped. 

"I  must  do  it.  It's  the  only  way.  You 
don't  understand.  You  don't  know  my 
father." 

"I  know  enough  to  understand  he's  a  crook. 
You  can't  put  yourself  in  the  power  of  such  a 
man." 

"Life  did  that,  and  even  when  I  thought  I'd 
gotten  away  from  him  I  carried  the  fear  that 
some  day  he  would  come  back." 

Larry  hesitated.  He  was  sickened  by  the 
thought  of  Marguerite,  the  girl  of  the  glorious 
voice,  of  the  wonderful  hair,  the  girl  who  could 
go  on  to  such  triumphs  and  such  a  marvelous 
life,  being  the  victim  of  this  man. 

"Wait  a  minute,"  he  said.  "I'm  going  to 
talk  to  you." 

He  ran  around  the  corner  of  the  house, 
through  the  front  door  and  into  the  room. 

"You  can't  do  this!"  he  cried  as  he  ap- 
proached her.  "It's — why,  it's  not  to  be 
thought  of  for  a  moment.  You  don't  even 
know  the  maestro  needs  your  protection.  Ask 
him  first." 

"And  have  him  give  himself  up  for  me?  He 
would  do  just  that.    You  don't  know  him." 

"I  know  he's  not  a  murderer.  It's  im- 
possible." 

The  girl  looked  away. 

"What  do  you  know?"  Larry  demanded. 
"Why  are  you  so  sure?" 

"I  shouldn't  tell  you.  It  seems  a  piece  of 
treachery  even  now.  And  I  was  only  a  little 
girl  the  night  it  happened — the  night  he  took 
me  away  with  him. 

"I  was  living  with  my  father.  I  know  he 
must  have  been  a  criminal,  and  out  in  the  ball 
I  heard  voices  and  quarreling  and  then  every- 
thing was  quiet.  I  was  frightened,  but  soon 
the  maestro  came  in.  When  we  went  out  to- 
gether a  man  was  lying  there  on  the  floor.  He 
was  dead. 

"Since  then  I've  known  nothing  but  love  and 


peace,  and  now  I'm  going  to  pay  him  in  the 
only  way  I  can." 

"By  making  him  unhappy?  By  spoiling  the 
work  of  years?" 

"  But  he  need  not  know  it.  He  could  think  I 
was  unworthy." 

It  was  an  orgy  of  self-sacrifice  and  Larry  was 
helpless  in  argument.  He  turned  to  a  show  of 
force. 

"I'm  not  going  to  let  you  do  it!"  he  cried  a 
he  approached  her.  "I  won't  let  this  thin 
happen." 

He   spoke   with   such  determination.   Mar- 
guerite looked  at  him  in  amazement. 
.  "I'll  be  there  at  six  o'clock  to  meet  him," 
Larry  rushed  on.     "I'll  settle  this  matter  for 
you." 

"But  you  could  do  nothing." 

"I  can  keep  you  from  going  with  him." 

"And  make  the  maestro  the  victim  of  his 
revenge?  " 

"That's  a  matter  the  maestro  and  I  will 
settle." 

He  was  too  intent  to  see  the  quick  look  of 
fear  which  crossed  the  girl's  face  or  note  the 
sudden  change  which  came  to  her. 

"No!  No!  Promise  you  will  not  meet 
him." 

"Will  you  promise  that  you  won't?"  he 
countered. 

"But  he'll  call  in  the  police." 

"He'd  be  the  first  criminal  who  did.  Of 
course,  he  won't.  He  doesn't  want  to  do  it  any 
more  than  you  want  to  have  him.  He  was  just 
trying  to  frighten  you  and  you  almost  let  him 
do  it." 

"You  saved  me  from  it,"  and  Marguerite 
looked  up  at  him  with  a  quick  smile.  "  I  am  so 
glad  you  came  and  heard." 

"And  you  won't  see  him  in  the  morning?" 

"No.  But  you  won't  tell  the  maestro? 
Promise  that  you  will  never  tell  anyone  what 
you  heard  today." 

"Of  course  not,"  Larry  replied.  "You  can 
trust  me,  can't  you?" 

"Yes,  I  can  trust  you,"  and  she  held  out  her 
hand. 

Larry  took  it,  and  he  held  it  longer  than  was 
necessary  and  without  being  conscious  that  he 
had  done  so.  Nor  did  she  draw  it  away  until 
both  heard  a  step  on  the  veranda.  They 
turned  as  Signor  Zappettini  entered. 


HE  bowed  to  Larry  without  speaking  but 
his  eyes  did  not  leave  Marguerite's  face 
and  there  was  a  question,  almost  an  accusation 
in  them. 

"Oh,  maestro!"  the  girl  cried.  "I  am  so 
glad  you  came.  Mr.  Moncrieff  just  arrived  to 
say  goodbye  and  he  has  only  a  few  minutes. 
The  party  he  is  with  is  going  on  and  he  was  so 
afraid  he  would  miss  you.  He  was  wondering 
if  he  could  wait  " 

"I  am  glad  I  came,  sir,"  Zappettini  said  as 
he  stepped  forward  to  shake  hands  with  Larry. 
"It  has  been  a  pleasure  to  know  and  to  have 
you  here.  In  eight  years  there  has  been  no  one 
who  could  give  the  appreciation  you  have." 

Larry  did  not  reply.  He  had  been  startled 
by  Marguerite's  statement,  the  unmistakable 
hint  that  he  must  go  at  once  and  must  not 
return.  He  glanced  quickly  at  her,  but  she  was 
smiling  as  if  nothing  of  any  consequence  had 
happened. 

"I  am  only  sorry  that  Mr.  Moncrieff  could 
not  have  remained  longer,"  she  said,  covering 
his  awkward  silence. 

"If  I  come  next  summer  I  hope  I  may  sec 
you  again,"  he  ventured,  looking  at  her  as  he 
spoke. 

"We  would  be  glad  to  see  you,"  the  maestro 
said.  "Only  I  doubt  if  we  are  here.  By  then, 
I  think,  our  silence  will  have  ended." 

In  the  maestro,  too,  Larry  sensed  something 
baffling  as  well  as  a  desire  that  he  be  gone.  He 
didn't  understand.  He  felt  that  he  shouldn't 
leave  without  making  an  offer  of  assistance. 
And  then  as  he  hesitated  he  caught  a  reassuring 
glance  from  Marguerite. 

"But  perhaps  we  will  be  here,"  she  said, 
"and  if  we  are  we  will  be  so  glad  to  see  you. 
Won't  we,  maestro?" 


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"Yes,  yes,"  the  musician  replied  somewhat 
absently. 

Larry  saw  that  he  could  gain  nothing  by 
remaining.  Reluctantly  he  bade  them  goodbye 
and  went  down  the  trail  to  the  lake.  As  he 
paddled  away  he  glanced  back  several  times, 
but  he  saw  nothing  of  the  man  or  the  girl. 

He  reached  the  camp  near  the  river  just 
before  supper.  No  one  seemed  to  have  noticed 
his  absence  and  he  sat  down  with  the  others 
and  listened  to  the  chatter  of  the  day's  hap- 
penings. 

"Everything's  in  shape,"  Dave  Mann  said. 
"We've  worked  out  each  scene,  all  the  stunts, 
everything.  And  it's  going  to  be  some  picture. 
Wonderful!  I'm  going  over  it  all  again  after 
supper.  Better  come  along,  Larry,  to  see  what 
you  must  do." 

He  led  the  members  of  the  company  to  the 
rim  of  the  gorge  at  a  bend  from  which  a  view 
up  and  down  stream  could  be  had.  Beneath 
them  the  river  dashed  and  roared  among  the 
rocks. 

"Here's  the  way  it  works,"  Dave  began. 
"These  are  the  Wolf-jaw  rapids.  Well  named, 
aren't  they?  See  that  place  near  the  top?  See 
those  sharp,  jagged  rocks  sticking  out  and  the 
foam  all  around  them?  Just  like  the  jaw  of  a 
wolf,  isn't  it?  There's  a  ledge  down  below 
where  we  can  get  a  slant  at  them  that  makes 
them  look  like  Niagara  Falls.  We'll  get  that 
over  in  a  title,  the  insatiable  maw  of  the  Wolf- 
jaw  rapids  which  has  devoured  the  lives  of 
men. 

"And  on  the  other  side  of  the  river!  See 
where  the  portage  trail  dips  down  from  the  top 
of  the  gorge?  In  one  place,  right  over  the  big 
eddy  above  the  falls,  it's  only  a  narrow  ledge. 

"XTOW,  here's  what  happens.    The  hero's  in 

*-^l  a  hurry.  Time  means  everything  to  him. 
He  paddles  down  the  river,  intending  to 
portage,  and  then  he  thinks  how  long  it  would 
take  him  and  of  a  sudden  he  decides  to  run  the 
rapids  as  far  as  the  falls,  lift  his  canoe  around 
those  rocks  and  go  on. 

"Nat  will  do  that,  or  part  of  it,  down  at  the 
falls,  but  maybe  Bill  Taylor  will  have  to  take 
the  canoe  through.    Sure  you  can  do  it,  Bill?  " 

"I'd  have  done  it  today  if  the  boys  had 
gotten  back  from  the  Indian  camp  with  that 
birchbark  sooner,"  the  woodsman  answered. 

"Can  Nat  do  it?" 

"I  could  tell  him  how.  The  rest  is  up  to 
him.  Rips  ain't  never  as  bad  as  they  look. 
They're  like  barkin'  dogs.  I've  run  these  a 
dozen  times  and  there's  only  one  ticklish  place. 
The  Wolf-jaw  itself  isn't  bad.  The  current 
takes  a  canoe  right  around  the  first  rocks  if  you 
let  it  go.  But  when  you  get  right  here  and  it 
looks  smooth,  that's  where  it's  bad.  You've 
got  to  shoot  over  to  the  left  and  let  that  big 
wave  lift  you  over  the  ledge." 

"But  what  are  you  going  to  do  when  you 
t  et  down  to  the  falls?  "  Nat  Haskell  demanded. 
"You  can't  go  over  them." 

"Not  and  tell  about  it  afterward,"  Taylor 
drawled.  "You  just  catch  the  eddy  right,  on 
that  side,  and  it  takes  you  into  the  pocket. 
You  step  out  onto  that  flat  boulder,  lift  the 
canoe  down  into  that  backwater  behind  that 
long  point  of  rocks  and  go  on  your  way." 

"Huh!  Roy  Quigley  snorted.  "  'On  your 
way!'  "  Bill  was  born  with  paddle  blisters  on 
his  hands.  'The  Wolf- jaw  ain't  bad.'  That's 
what  a  puncher  told  me  at  Cheyenne  after  he'd 
ridden  Steamboat.  Said  the  old  horse  was 
losing  his  pep  and  I'll  swear  that  fellow's  liver 
had  three  knots  tied  in  it  before  he  got  out  of 
the  saddle.  This  fellow  Einstein  is  as  clear  as 
a  third  grade  reader  compared  to  Bill  telling 
how  he  can  slip  through  that  mass  of  forty-mile 
water." 

"Shut  up!"  Dave  snapped  irritably.  "Nat 
says  he's  not  afraid  of  it." 

The  double  grinned  in  embarrassment  and 
turned  away,  but  no  one  noticed  him.  Long 
ago  the  company  had  become  accustomed  to 
his  complete  lack  of  nerves  and  had  ceased  to 
sympathize  with  him  because  he  took  all  the 
risks  and  Larry  Moncrieff  reaped  all  the  glorv 
in  the  pictures. 


"3 


Eight 


To  lighten  human 
labor,  shorten  dis- 
tance.and  savemoney 
— these  are  the  ser- 
vices of  electricity. 
General  Electric 
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of  the  apparatus  by 
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works,  and  stamps  it 
with  the  monogram 
shown  above. 


thousand  miles 
saved  on  every  trip 

It  used  to  be  1 3 , 3  0  7  miles  from 
New  York  to  San  Francisco 
by  sea;  it  is  now  only  5,262. 

The  Panama  Canal,  which 
seemed  such  a  heavy  expense 
when  it  was  built,  is  an  im- 
mense national  economy. 

A  greater  economy  because 
of  the  1,500  General  Electric 
motors  which  do  its  work  — 
pulling  the  ships  through, 
pumping  water,  opening  and 
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"Anyhow,"  Dave  continued,  "the  hero  goes 
through  to  save  time,  to  get  the  girl,  but  the 
villain,  never  dreaming  anyone  would  try  it,  is 
waiting  for  him  on  the  narrow  ledge  up  above. 
He  never  thinks  to  look  down  in  the  rapids  and 
never  knows  what's  happened. 

"And  all  the  time  he's  got  the  girl  hidden  up 
there.  After  a  while  the  hero  conies  back 
looking  for  her  and  he  meets  the  villain  laying 
for  him  on  that  ledge.  They  fight,  the  girl  gets 
loose  and  comes  down  to  help  him  and  she  gets 
knocked  off  into  the  eddy  above  the  falls.  The 
hero  throws  the  man  over  onto  the  rocks  and 
jumps  after  the  girl,  catching  her  just  before 
she  goes  over  the  falls  and  pulling  her  out." 

Dave  led  them  on  upstream,  outlining  his 
story  and  becoming  more  and  more  enthusi- 
astic as  it  progressed.  He  had  devised  many 
thrilling  scenes  and  daredevil  stunts. 

"And  always,"  he  proclaimed,  "we  will  have 
this  wonderful  background,  a  wild,  rugged, 
ruthless  setting  for  a  story  of  wild,  rough,  ruth- 
less people,  and  yet  with  the  beauty  of  the 
Canadian  wilderness,  a  beauty  so  like  that  of 
the  girl  herself,  gentle  and  yet  savage,  prim- 
itive and  yet  lovable.  Huh!  And  yet  they  sa y 
there  is  no  art  in  the  movies.  Some  people 
make  me  tired." 

Only  the  mosquitoes  ended  his  discourse. 
The  nightly  swarms  came  in  with  twilight  and 
drove  everyone  back  to  the  shelter  of  the  tents. 


Yet  Larry  did  not  sleep.  Ever  since  he  had 
left  Signor  Zappettini's  home  he  had  thought 
of  little  else  than  the  tragic  story  he  had  un- 
earthed. He  tried  to  tell  himself  it  was  none  of 
his  affair,  that  he  had  been  dismissed  by  loth 
Marguerite  and  the  maestro,  and  yet  he  could 
not  drive  out  the  thought  that  he  should  do 
something — that  his  help  was  needed. 

At  last  he  drifted  off  to  sleep,  but  at  dawn  he 
wakened.  He  found  his  mind  startlingly  clear 
and  that  he  was  able  to  recall  every  detail  of 
that  story  he  had  heard  through  the  open 
window  and  of  his  conversation  with  Mar- 
guerite afterward.  And  out  of  all  those  state- 
ments, glances  and  fleeting  expressions  there 
came  to  him  the  conviction  that  he  had  been 
duped,  that  the  girl  had  sought  only  to  get  him 
to  leave,  had  promised  she  would  not  meet  her 
father  at  six  o'clock  with  the  sole  intention  of 
allaying  his  fears  and  keeping  him  away. 

In  an  effort  to  disprove  what  he  feared  was 
true  he  went  over  the  conversation  word  by 
word,  only  to  reach  the  opposite  conclusion. 
He  was  certain  that  Marguerite  had  striven  to 
get  a  clear  field  that  she  might  sacrifice  herself 
for  the  maestro. 

Larry  looked  at  his  watch  and  found  that  it 
was  half  past  four.  He  arose  quietly,  dressed 
and  slipped  out  of  the  tent.  No  one  was  awake 
and  he  walked  down  the  trail  to  the  lake,  set 
the  little  canoe  in  the  water  and  paddled  away. 


END  OF  PART  TWO 


Close'Ups  and  Long  Shots 

[  CONTINUED  FROM  PAGE  66  ] 


Valentino's  Fate:  The  question  most  often 
hurled  in  this  direction  is:  Will  Valentino 
return  to  the  screen  with  the  same  prestige  as 
he  had  when  he  left  it?  Certainly  not. 
Valentino  left  the  screen  a  movie  star;  he 
returns  a  national  figure. 

A  Question  for  League,  of  Nations:  Famous 
Players  sues  Rudie.  Rudie  sues  Famous 
Players.  Agent  sues  Rudie.  Rudie  sues  agent. 
Rudie's  lawyer  sues  Rudie.  Rudie  sues  the 
lawyer.  Latest  bulletin — Rudie  sues  beauty 
clay  employers.  Now  the  question  is,  is  Rudie 
more  sued  against  than  suing? 

Big-Hcarted  Bull:  In  appreciation  of  the 
story  I  wrote  about  him,  entitled  "The  Tragic 
Romance  of  Luigi  Montegna,"  Bull  Montana 
announced  that  he  intended  to  give  a  party  for 
me  and  Jack  Dempsey — at  Tack's  house! 

Big-hearted  Bull! 

Advance  of  Art:  As  an  instance  of  the  tre- 
mendous progress  in  the  art  of  the  motion 
picture  I  submit  the  following  title  from  a 
Goldwyn  picture:  I'm  as  pure  as  the  day  my 
mother  bore  me. 

A  nother  Milestone:  With  an  all-sta  r  cast  and 
whole-hearted  expenditure  Goldwyn  is  produc- 
ing "Nellie,  the  Beautiful  Cloak  Model." 

That's  what  critics  call  epoch-making. 
Goldwyn  is  picking  up  where  Fox  left  off. 

Why  Costumes  Prevail:  Explaining  the 
vogue  of  the  costume  picture,  Willard  B.  Mack, 
directorial  counsel  for  the  Talmadge  produc- 
tions and  quondam  husband  of  Pauline  Fred- 
erick, Marjorie  Rambeau,  Etc.,  remarked  to 
me:  "It's  simple  enough.  The  public  craves 
romance,  and  there's  no  romance  in  modern 
life." 

Bill  certainly  should  know  after  being  mar- 
ried four  or  five  times  in  this  one  incarnation. 

The  Exhibitor  as  Critic:  Most  producers 
hold  that  the  exhibitor  is  the  only  critic  worth 
considering.  Mary  Pickford  doesn't  feel  en- 
tirely that  way.  She  had  been  reading  some 
exhibitors'  reports  in  the  trade  papers. 


"My  Goodness!  something  ought  to  be  done 
about  them,"  she  exclaimed.  "One  exhibitor 
says  Nazimova  is  the  cat's  pajamas!"  Mary 
was  horrified. 

Personally,  I  find  them  very  enjoyable.  The 
following  are  among  the  critiques  that  have 
charmed  me  most: 

"Home  Talent" — This  is  the  worst  hunk 
of  cheese  we  ever  put  on  the  screen. — Lyric 
theater,    Strawberry   Point. 

"Bits  of  Life"— I  tell  you  that  Chink  stuff 
of  that  kind  won't  do  if  we  expect  to  stay  in 
the  game. — Electric  theater,  Centralia. 

"Three  Who  Paid" — Outside  of  two  sui- 
cides, three  killings,  a  projected  lynching  bee 
and  some  altercations  this  was  a  peaceful 
little  picture. — Fad  theater,  Brookings. 

"Souls  for  Sale" — It  certainly  paints  Holly- 
wood with  the  white  lily.  Catchy  advertising 
will  put  it  over. — Garfield  theater,  Chicago. 

"Hungry  Hearts" — No  drawing  power  to 
it  and  nothing  to  it  but  a  bunch  of  Russian 
immigrants  coming  to  this  country. — Liberty 
theater. 

"Grumpy,"  with  Theodore  Roberts — Star 
doesn't  look  natural  without  his  cigar  and 
teeth. — Palace    theater,    Blackwell. 

"The  Young  Diana" — Too  long  and  it 
would  be  no  good  if  it  were  shorter. — Cresco 
theater,  Cresco. 

"  Speed  " — A  joke  from  end  to  end.  Lucy 
was  not  cleared  of  the  murder;  in  fact,  it 
^eemed  that  the  director  forgot  that  a  woman 
had  been  killed  in  the  excitement  of  finishing 
the  serial.  It  is  "punk." — Wigwam  theater, 
Oberlin. 

"Where  Is 'My  Wandering  Boy  Tonight" — 
We  didn't  get  all  this  one.  .A  reel  short,  but 
got  by,  and  pleased  about  75  per  cent. — Strand 
theater,  Perry. 

Conversazioni:  The  chief  topics  of  con- 
versation in  Hollywood  are:  Self,  Sex  and 
Scotch.  Whereas  in  New  York  they  are: 
Scotch,  Sex  and  Self. 

Our  Idea  of  Box-Office  Attraction:  To  Fred 
Niblo  we  give  credit  for  assembling  the  strong- 
est co-starring  box-office  attraction  of  today: 
Ramon  Novarro  and  Barbara  La  Marr  in 
"Thy  Name  is  Woman." 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


ri5 


Critics  vs.  Commentator:  The  thing  that 
interests  me  least  in  the  motion  picture 
industry  is  the  motion  picture.  The  char- 
acters I  see  on  the  screen  interest  me  far  less 
than  the  characters  I  see  in  Hollywood.  To 
be  an  absolutely  impartial  critic  one  must  keep 
aloof  from  these  characters.  Ergo,  I  shall 
not  become  a  serious-minded,  quotable  critic 
until  I  feel  old  enough  to  enter  a  monastery. 


Questions  and  Answers 

[  CONTINUED  FROM  PAGE  9 1  ] 

L.  C,  Jersey  City,  N.  J. — Another  desig- 
nation for  the  humble  Answer  Man.  I  like 
this  one  too,  "The  Oracle."  Regarding  your 
communication,  we  must  learn  the  lesson  of 
tolerance,  little  one.  It  is  a  good  and  needed 
lesson  in  this  whirling  age  of  high  fever. 
Jane  Novak  is  the  Novak  sister  who  is  married 
and  has  a  little  daughter. 

Leilani  Mapuana  Ele  from  Honolulu. — 
Don't  forget  to  send  me  your  picture.  I'm 
not  married.  Address  Florence  Vidor  at  the 
studio  of  Principal  Pictures.  Lila  Lee  was 
recently  married  to  James  Kirkwood,  not 
James  Quirkwood.  That  shows  you  read  our 
editorial  page.  Neither  Madge  Bellamy  nor 
Betty  Compson  is  married.  Address  Enid 
Bennett  at  the  Metro  Studios. 

Blue  Eyed  Blonde,  Buffalo,  N.  Y. — I 
could  not  ignore  a  plea  so  pathetic.  When  a 
woman  says,  "Poor  little  me,"  a  man's  heart, 
as  the  poet  hath  it,  "turns  to  water."  I  am 
glad  to  illuminate  the  dark  places  of  your 
memory  as  to  Joe  Striker.  He  is  about 
twenty-four  years  of  age,  is  five  feet  nine  and  a 
half  inches  tall,  and  is  unmarried.  His  chief 
appearances  have  been  in  "Flapper  Love," 
"Madonna  in  Chains"  and  "The  Steadfast 
Heart."     Not  yet  a  star. 

H.  F.  D..  Monrovia,  Calif. — Another 
original  soubriquet,  "Knowledge  Man  or 
Woman."  Thank  you.  You  saw  "Orphans 
of  the  Storm"  three  times,  the  last  two  times 
"being  for  his  sake  alone."  Honored  Joseph 
Schildkraut!  You  rank  him  as  "the  hand- 
somest man  or  actor  you  ever  saw.  You  saw 
Walter  McGrail  in  Los  Angeles  and  think  him 
"as  good  to  look  at  off  the  stage  as  on."  Both 
interesting.  What  you  say  of  another  gen- 
erally praised  player  proves  you  to  be  a  dis- 
criminating maid. 

Katherine  of  San  Francisco. — A  loyal 
admirer  of  your  favorite  star  are  you,  Kath- 
erine. Your  estimate  of  her  ability  may  be 
correct.  You  can  communicate  with  Patsy 
Ruth  Miller,  by  way  of  The  Vitagraph  Com- 
pany of  America,  1708  Talmadge  St.,  Holly- 
wood, Calif.  Jack  Pickford's  address  is  the 
Mary  Pickford  Studio,  Hollywood,  Calif. 

Rose  of  Paducah,  Ky. — Ah!  A  whiff  of 
fragrance  from  the  South.  You  are  gifted 
with  the  divine  fire  of  enthusiasm.  A  girl  who 
saw  "The  Young  Rajah  "  four  times  and  "The 
Four  Horsemen  of  the  Apocalypse"  six  times 
and.  not  having  an  opportunity  to  see  "The 
Sheik,"  read  it  seventeen  times,  should  be 
called  Fan — nie.  Patsy  Ruth  Miller  is  com- 
municable by  way  of  the  Vitagraph  Company 
of  America,  1708  Talmadge  St.,  Hollywood, 
Calif.  Lila  Lee's  address  is  Famous  Players, 
Lasky  Co.,  Lasky  Studio,  Hollywood,  Calif. 
Write  Mae  Murray,  care  Metro  Studio,  Rom- 
aine  and  Cahuenga  Ave.,  Hollywood,  Calif; 
Conrad  Nagel,  Vitagraph  Company  of  America, 
1708  Talmadge  St.,  Hollywood;  Richard  Dix, 
Famous  Players-Lasky  Co.,  Lasky  Studio. 
Hollywood,  Calif.  Joseph  Schildkraut  is  with 
Norma  Talmadge  in  "Dust  of  Desire." 

K.  M.,  Janesville,  Wis. — Miss  Clayton's 
latest  picture  was  "The  Remittance  Woman," 
Miss  Clayton  should  be  addressed  care  F.  B. 
0.,  R.— C.  Studio,  Grove  &  Melrose  Ave., 
Hollywood,  Cal'f. 


^^t\ 

^           91 

••the  most 

photographed 

hands  in  the 

^k                  it           ^B 

WORLD" 

^^_                       .Jk                  ^H 

MissHelenJuneDrewof 
Eluihurst,  Long  Island, 
Is   sought    by  photog- 
raphers and  artists  all 
over  the  country  when- 
ever a  picture  of  beauti- 
ful hands  is  needed. 

fw  £&\ 

She  tellsherehow  she 

has  made  them  —  and 

kept  them — so  raarvel- 

l  ouslywhiteandsmooth.   1 

wwwj^' 

Miss.  Drew's  hands  only  fifteen  inches  from  the  camera.     Note  the  extraordinary  absence  of 
any  coarseness  or  grain  to  the  skin.    Photo  not  retouched  in  any  ivay. 

Making  Hands  Soft  and  White 
And  Keeping  Them  So 

A  Scientific  Method  That  Works  Like  Magic  for  Anybody 


By  HELEN  JUNE  DREW 


EMAY  as  well  confess  at  the  outset 
that  my  hands  were  not  always  in 
the  perfect  condition  which  has  seemed 
to  make  them  such  good  sub- 
jects for  the   camera.      Nor 
can  I  claim  credit  for  discov- 
ering the   simple   means  by 
which  I  have  made  them  so 
unusually  white  and  smooth. 

If  your  hands  are  "a  sight" 
(mine  were  once),  if  they  are 
red  from  household  tasks,  yel- 
low from  age,  creased — 
chapped — or  otherwise  "weathered," 
you  can  do  what  /  did.  You  can  turn 
them  white  as  a  lily — and  as  soft  and 
smooth.  Furthermore,  you  can  do  it 
so  easily  and  quickly  you  will  think  it 
magic!     How? 

With  a  pair  of  gloves  of  amazing 
powers! 

Nothing  like  this  method  was  ever 
known,  or  dreamed  of,  I  guess,  until  a 
Quakertown  doctor  turned  his  scientific 
mind  to  the  problem  of  rough,  unsightly 
hands.  He  finally  found  a  way  to  im- 
pregnate gloves  with  a  solution  that 
has  an  amazingly  potent  action  set  up 
by  the  warmth  of  the  hands.  The  way 
hands  turn  white  under  the  magic  spoil 
of  this  contact  with  the  impregnated 
glove  fabric  is  simply  astonishing.   The 

skin  becomes  so  wonderfully  softened  and 
smoothed  that  everyone  you  know  will  notice 
and  remark  the  difference.  These  "night 
gloves"  as  they  are  called,  will  show  results  on 
any  hands,  and  with  a  single  night's  wear, 
Four  or  five  nights  is  all  the  most  "hopeless" 


hands  seem  to  require.  My  own  mother's  hands 
which  were  positively  toilworn  are  truly  attrac- 
tive as  a  result  of  wearing  my  night  gloves  just 
a  few  times.  (I  now  find  it  necessary  to  use 
them  only  occasionally,  perhaps 
once  every  ten  days  or  two  weeks.) 
Some  wear  them  only  when  work- 
ing about  the  house  for  an  hour  or 
two. 

If  you  want  hands  of  the  white- 
ness and  softness  that  make  any- 
one's hands  beautiful  to  behold,  you 
can  prove  this  method  on  your  own 
two  hands  without  any  chance  of 
failure — without  risking  a  penny. 
For  Dr.  Egan,  who  perfected  the 
remarkable  medicator  and  porelax 
with  which  the  gloves  are  impreg- 
nated permits  their  use  until  you  see  the  results 
with  your  own  eyes.  And  what  do  you  suppose 
this  transformation  of  your  hands  costs?  The 
small  sum  of  SI. 95!  If  you  continue  to  have 
hands  that  close  scrutiny  makes  you  want 
to  hide — well,  it  is  your  own  fault  according  to 
my  notion! 

(Xote:  the  SI. 95  price  Miss  Drew  mentions  is  a 
special,  introductory  arrangement:  the  magic  glove 
outfit's  regular  price  is  five  dollars.  See  coupon 
below.) 

DR.  S.  J.  EGAN,  Dept,  85 
220  So.  State  St.,  Chicago,  111. 

Please  send  me  (In  plain  package)  for  free  trial. 
complete  Magic  Xight  Gloves  outfit.  Including 
porelax  and  medicator.  I  will  pay  postman  $1.96 
(plus  postagel  on  delivery.  If  I  am  not  delighted 
with  the  change  In  my  hands  in  Ave  days  1  ma] 
return  gloves  and  have  my  money  back.  (//  apt 
to  be  out  tchen  postman  calls  you  can  enclose  $ 
■receive  ijlores  prepaid.) 


When  yon  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE 


i  i6 


Photoplay  Magazine — Advertising  Section 


A  danger  signal  — 
tender  and  bleedinggums 


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Why  Men  Go  Crasy 
About  Corinne  Griffith 

[  CONTINUED  FKOil  PACE  J  7  ] 

"What  is  this?  Nothing  like  this  has  ever 
happened  in  Hollywood  before." 

Investigation  seemed  to  prove  that  every 
man  from  six  to  sixty  was  crazy  about  Corinne 
Griffith.  Men  who  usually  adore  blonde 
flappers  and  respond  to  baby  talk.  Men  who 
prefer  'em  dark  and  dangerous.  Married  and 
single,  light  and  dark,  rich  and  poor,  fat  and 
thin.     There  wasn't  a  dissenting  voice. 

Now,  if  you  were  a  woman  and  every  man 
you  knew  agreed  that  a  certain  woman  was 
the  most  attractive,  and  desirable,  and  lovable 
woman  he'd  ever  seen,  wouldn't  you  want  to 
know  whj'? 

I  did. 

You  bet  I  wanted  to  know  why.  I  wasn't 
entirely  selfish.  I  thought  of  my  sisters  all 
over  the  world.  I  thought  of  the  awful 
problem:  "What  kind  of  a  woman  do  men 
really  admire,  all  men?"  If  I  could  say, 
"Here  you  are,  ladies.  The  one  woman  all 
men  admit  they  are  crazy  about.  Let's  find 
out  as  nearly  as  we  can  why  and  profit  there- 
by."  _   _ 

1  his  is  why. 

Her  greatest  charm  is  that  she  lends  herself 
so  exquisitely  to  your  creative  instinct.  She 
is  like  an  opal  that  shines  in  different  colors 
from  whatever  viewpoint  you  look  at  it.  To 
hear  two  different  men  describe  Corinne 
Griffith  is  a  treat.  You  would  think  one  was 
describing  Pola  Negri  and  the  other  Mary 
Pickford. 

For  instance,  one  man  told  me  she  was 
wearing  orchids  and  that  they  exactly  suited 
her  personality.  And  another  whispered  that 
it  was  exactly  like  her  to  wear  violets,  because 
nothing  else  really  belonged  to  her.  As  a 
matter  of  fact,  it  was  a  lovely  corsage  of 
pansies  and  lilies-of-the-valley.  And  one  man 
called  the  coral  she  was  wearing  burnt  orange 
and  another  called  it  sea-shell  pink. 

A  woman  who  happens  to  be  a  lady  and  is 
still  seductive  is  in  an  enviable  position.  And 
Corinne  Griffith  is  a  lady — a  southern  lady. 
There  is  something  luxurious  about  her, 
luxurious  and  yet  restful,  that  makes  a  man 
draw  a  long  sigh  of  contentment. 

Her  personality  is  languid,  soft,  unobtrusive, 
almost  negative.  And  it  appeals  instantly 
to  the  imagination.  Her  eyes  are  full  of 
dreams,  but  they  are  not  labeled.  You  can 
mingle  them  with  your  own  pet,  secret,  dearly 
loved  dreams. 


JUST  as  some  women  delight  dressmakers 
because  they  can  wear  any  gown  and  display 
it  and  increase  its  beauty,  so  Corinne  Griffith 
can  wear  any  air  castle  you  may  build,  be  it 
a  cottage  with  twining  roses  over  the  door  or 
a  villa  on  the  Riviera. 

An  artist  could  use  her  as  a  model  for  La 
_     Belle  Dame  sans  Merei  or  for  a  Madonna. 

And  she  has  a  habit  that  I  have  never  seen 
except  in  men— men  who  understand  women. 
When  she  talks  to  a  man,  she  has  a  little  air 
of  being  particularly  delighted  with  him,  a 
little  intimate  sweetness,  as  though  he  were 
just  the  only  man  in  the  world  she  wanted  to 
be  talking  to;  as  though  he  were  reallv  the 
only  man  she  was  interested  in. 


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Photoplay  Magazine — Advertising  Section 


117 


No  woman  is  helpless  any  more.  Except 
Corinne  Griffith.  When  a  man  helps  her  into 
her  carriage  (it's  really  a  limousine)  he  feels 
somehow  that  without  his  great,  big,  manly 
assistance,  she  would  have  fallen  by  the  way- 
side, or  been  attacked  by  bandits.  And  he 
stands  bare-headed  in  the  rain  as  she  drives 
away.     Honestly,  I've  seen  them. 

Have  you  ever  noticed  how  positive  are  the 
personalities  and  opinions  of  most  women  of 
today?  They  know  so  much.  They  are  either 
definitely  vamps  or  definitely  ingenues.  They 
are  either  flappers  or  business  women.  There 
is  no  sweetly  scented  veil  of  illusion  about 
them.  No  mystery.  No  suspense.  The  cards 
are  all  on  the  table.  The  average  Twentieth 
Century  girl  is  either  a  vampire  who  over- 
whelms a  man  with  sex  appeal,  or  she  is  super- 
humanly  efficient  and  intelligent.  She  dis- 
cusses eugenics  and  obstetrics,  she  leads  the 
way. 

Not  Corinne.  She  is  passive,  receptive, 
unattainable  and  mysterious.  There  is  noth- 
ing assertive  about  her  opinions.  She  is  quite 
ready  to  be  overwhelmed  by  the  tremendous 
intellectual  prowess  of  her  dinner  partner. 
And  from  all  anyone  is  able  to  find  out  about 
her,  she  is  innocence  personified.  Strangely 
enough,  in  this  day  and  age,  no  one  would  be 
apt  to  tell  a  risque  story  in  front  of  Corinne 
Griffith. 

Furthermore,  she  is  reserved.  In  a  land 
where  last  names  are  forgotten  overnight,  she 
is  still  "Miss  Griffith."  It  would  be  a  deli- 
cious thing,  a  thing  to  dream  about,  to  sud- 
denly call  her  "Corinne.''  Her  little  air  of 
aloofness  forbids  familiarity.  At  a  party 
one  night,  where  everyone  was  in  a  gay  and 
festive  mood  and  much  jesting  was  in  progress, 
a  young  man  who  knew  her  very  well  started 
to  kiss  her.  She  drew  herself  up  and  gave 
him  one  reproachful  look,  and  he  went  crim- 
son to  his  hair  and  apologized. 

And  yet  no  man  but  is  sure  of  the  fires  to  be 
awakened,  the  glorious  joys  of  actually 
winning  her,  of  obtaining  her  favors. 

She  is  essentially  lazy.  New  Orleans,  her 
birthplace,  has  stamped  her  with  its  own 
charm.  Consequently  she  is  the  best  audience 
I  have  ever  seen.  Oh,  how  well  she  listens. 
Most  men  will  talk  for  hours  to  a  homely 
woman,  if  she  has  sense  enough  to  keep  quiet. 
Can  you  imagine  how  they  feel  when  they  see 
those  delicious,  wide  gray  eyes,  half  smiling  in 
appreciation,  that  sweet  mouth  softly  parted 
in  wonder?  How  Corinne  stops  them,  I  don't 
know. 

ALL  men  declare  that  she  is  supremely  intel- 
ligent. Results  talk.  It  takes  intelligence 
to  make  men  think  you  are  intelligent,  whether 
it's  the  particular  brand  women  are  bragging 
so  much  about  just  now  or  not,  I  don't  know. 

Her  physical  charms  are  too  obvious  to 
mention.  In  the  old  days,  her  little,  slender 
feet,  and  her  lovely  hands — have  you  ever 
noticed  her  hands? — and  her  white  teeth  and 
her  soft  hair  would  have  been  the  subject  of 
poems.  And,  in  passing,  do  you  know  she's 
the  only  woman  in  a  long  time  whose  hands 
any  man  has  mentioned  to  me?  In  the  old 
days,  indeed,  she  would  have  been  a  belle  and 
a  toast. 

There's  exactly  the  note  of  her  appeal.  A 
belle  and  a  toast.  The  adored  of  gallants. 
The  inspiration  of  sonnets.  The  subject  of 
duels. 

Corinne  Griffith  is — Woman.  Woman  as  we 
u>ed  to  dream  her  when  she  was  the  heroine 
of  romance,  and  not  of  problems.  Woman  as 
we  used  to  love  her  when  she  was  a  slave  and  a 
queen,  not  an  equal.  To  men,  she  brings  back 
the  dear,  dead  days  before  the  last  two  amend- 
ments made  our  Constitution  perfect.  And  yet, 
being  Woman,  she  can  arouse  in  a  man  every- 
thing that  we  have  learned  to  discuss  so  freely. 

Boccaccio  and  Tennyson  might  write  of  her. 

She  can  play  a  courtesan  or  a  housewife. 

She  is  that  ever-sought,  ever-dreamed 
creature  men  whisper  of  when  they  are  alone — 
the  woman  who  is  a  harem  all  in  one. 

That's  why  she  is— The  Toast  of  Hollywood. 


Would  YouTlhimlk  from  tfak  Plhioto 

iffed  WO  Lbs? 


T 


By  Jessica  Penrose  Bayliss 

(of  Bryn  Mawr,  Penna.) 

HAD  just  about  all  the  avoirdupois  I 
could  carry  around  when  I  first  heard 
of  getting  thin  to  music.  I  am  only  5 
ft.  and  5  in.  in  height  and  not  of  large  frame, 
and  191  lbs.  made  me  positively  conspicuous 
as  you  can  well  believe.  It  was  beginning  to 
tell  on  my  arches;  I  had  difficulty  in  walking 
any  distance.  Dancing  became  out  of  the  ques- 
tion, and  I  had  become  a  regular  stay-at-home 
when  a  friend  prevailed  on  me  to  try  the 
much-talked-of  reducing  records. 

"The  first  session  with  this  method  was  a 
complete  surprise.  I  had  expected  it  would 
be  something  of  a  bore — the  things  I  had 
tried  in  the  past  had  all  proved  so.  But  the 
movements  that  first  reducing  record  con- 
tained, the  novel  commands  and  counts,  and 
the  sparkling  musical  accompaniment  made 
it  extremely  interesting.  I  used  it  for  over  a 
week  for  the  sheer  fun  of  doing  it.  I  felt 
splendid  after  each  day's  'lesson.'  Even  then 
I  scarcely  took  the  idea  seriously.  Surely,  this 
new  form  of  play  could  not  be  affecting  my 
huge  superfluity  of  flesh;  it  must  have  been 
ten  or  twelve  days  later  that  I  weighed  myself. 

"/  had  lost  eight  pound  si 

"No  one  had  to  urge  me  after  that!  I  se- 
cured all  five  of  the  records  and  settled  down 
in  earnest  to  reduce.  A  week  later  the  same 
scale  said  174  lbs.  Another  week  only  showed 
a  six  pound  loss;  but  the  week  following  I 
had  taken  off  nine  more  pounds. 

"As  I  progressed  in  the  lessons  I  found 
them  growing  more  and  more  interesting, 
and  each  new  and  unique  movement  began 
improving  my  proportions  in  new  places. 
The  over-fleshiness  at  my  neck  was  a  condi- 
tion I  never  dreamed  could  be  affected  by 
these  methods,  but  it  was ;  even  the  roll  of 
fat  that  had  foreshadowed  a  double-chin  dis- 
appeared in  time. 

"In  six  weeks  I  was  dancing,  golfing  and 
'going'  as  of  yore.  I  got  another  saddle 
horse.  I  started  wearing  clothes  which  did 
not  have  to  sacrifice  all  style  in  an  effort  to 
conceal.  And  it  is  quite  needless  to  say  I 
was  delighted  and  elated.  At  the  end  of  nine 
weeks  I  weighed  exactly  138  lbs. — a  reduc- 
tion of  fifty-three  pounds.  I  submit 
my  experience  in  gratitude  for  what 
Wallace's  wonderful  records  have 
done  for  me.  I  am  humbled  by  the 
recollection  of  how  I  once  fairly 
scoffed  at  the  enthusiasm  of  others  in 
what  I  deemed  at  the  time  a  mere  fad. 
I  shudder  to  think  that  I  might  have  re- 
mained indifferent  to  this  method.  Only  a 
woman  who  has  been  over-whelmingly  fleshly 
can  appreciate  what  my  new  appearance  and 
feelings  mean  to  me.  As  for  those  who  need 
reduce  but  a  few  pounds  to  make  their 
figures  what  they  would  like  them  to  be, 
it  is  pitiful  to  think  that  they  do  not 
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"I  am  looking  for  a  grave — "  I  started  to 
suggest  after  engaging  his  reluctant  attention. 

"Well,  there's  plenty  of  them  about,''  the 
old  grave  digger  answered,  bending  again  to 
his  work. 

"But  it  is  a  special  one  I  want — Major 
Woodvillc  Latham's." 

The  grave  digger  clambered  out  of  his  exca- 
vation and  dropped  his  shovel. 

"Yep,  he's  here — way  over  yonder.  Come 
along  and  I'll  show  you.  Buried  him  ten 
year  ago — cremated — didn't  need  no  permit." 

The  digger  of  graveyard  mould  led  the  way 
through  a  half  a  mile  of  the  crowded  cemetery, 
thick  with  headstones,  until  he  came  to  a 
granite  shaft  bearing  the  name  of  Latham. 

I  marvelled  at  the  old  man's  memory  in  t hi- 
city  of  the  dead.  "  J  )o  you  know  where  they 
all  arc,  like  this?" 

"Sure — they  don't  move  around  on  me 
much." 

"This  man,"  I  volunteered,  "put  the  motion 
picture  on  the  screen." 

The  grave  digger  filled  his  pipe  and  regarded 
the  headstone  with  a  new  interest. 

"He  did — well  I  reckon  he  didn't  get  nothing 
out  of  it — them  inventor  fellows  never  does." 

And  thus  passes  the  name  of  Latham  from 
the  affairs  of  the  motion  picture. 

THE  war  over  the  patents  in  the  case  against 
the  Independent  Motion  Picture  Company, 
in  which  Woodville  Latham  became  so  im- 
portant a  witness,  brought  in  another  per- 
sonality of  more  interest  than  importance, 
William  Friese  Greene,  of  London. 

As  has  been  indicated  in  the  prior  chapter, 
Greene  was  a  persistent  claimant  to  past 
honors  as  the  original  inventor  of  the  motion 
picture.  And  it  will  be  recalled  from  that 
chapter  that  Greene  figured  in  the  litigation 
which  wrecked  the  patent  protection  of  Kine- 
macolor,  a  procedure  which  reflected  no 
shining  credit  on  himself. 

Because,  in  their  efforts  to  discredit  the 
Motion  Picture  Patents  Company,  the  inde- 
pendents had  made  much  of  the  claims  of 
Greene  to  a  priority  over  the  American  in- 
ventors, he  became  on  this  wave  of  propaganda 
a  personage  of  promised  importance  in  the 
fight.  P.  A.  Powers,  of  the  independent 
forces,  planned  to  spring  a  surprise  upon  the 
Patents  Company.  He  communicated  with 
Greene  and  arranged  for  him  to  come  most 
quietly  to  New  York,  prepared  to  take  the 
witness  stand  and  explode  the  entire  American 
patent  situation. 

All  went  nicely.  Greene  came  to  New  York, 
and  was  stowed  away  at  a  hotel  with  con- 
siderable secrecy.  Then  the  lawyers  for  the 
independents  went  into  secret  session  with  the 
imported  star  witness. 

Greene  expanded  and  expounded  at  length 
on  his  claims  and  talked  glowingly  of  his  in- 
vention of  the  motion  picture  camera. 

But  there  was  just  that  little  technical 
matter  of  proof,  a  documentary  presentation 
of  facts  about  these  important  British  patents 
of  which  he  spoke. 

Alas  and  alack!  Mr.  Greene  was  much 
annoyed — for,  said  he,  he  had  forgotten  and 
left  all  of  his  patent  papers  in  London. 

So,  just  as  quietly,  just  as  secretly,  Greene 
was  bundled  off  to  London,  before  the  Patents 
Company  could  discover  him.  The  Patents 
Company  would  doubtless  have  put  Greene 
on  the  stand  and  ventilated  his  patent  claims 
for  the  moral  effect  on  the  independent  trade, 
which  had  been  taking  courage  out  of  his 
supposed  priority. 

After  the  Kinemacolor  litigation  which  fol- 
lowed this  episode,  William  Friese  Greene 
disappeared  from  the  motion  picture  affairs  of 
England.  In  1015  he  was  discovered  in  want 
and  the  concerns  of  Film  Row  in  London 
raised  a  fund  of  about  seven  hundred  dollars 
to  supply  his  immediate  wants.     The  British 


picture  men  were  beginning  patriotically  to 
desire  an  original  "inventor-of-the-films"  all 
their  own. 

But  tragedy  followed  fast  on  the  footsteps  of 
Greene.  On  the  night  of  May  5,  192 1,  he  was 
invited  to  a  dinner  in  London  given  by  the 
film  trade.  As  "the  father  of  the  industry," 
Greene  was  called  upon  to  make  a  speech. 
He  rose  and  once  again  he  told  his  story — and 
at  the  end  of  it  fell  dead  across  his  chair. 

Due  largely  to  fictions  built  about  the  name 
of  Greene,  there  are  many  in  the  motion  picture 
industry  today  who  feel  convinced  that  the 
art  was  born  in  England. 

TXTHILE  the  battles  of  the  courts  raged  on, 
W  the  "Imp"  merrily  proceeded  to  make 
pictures  and  profits.  The  producing  organi- 
zation was  developing  to  keep  pace  with  the 
widening  independent  market  for  films. 

"Imp,"  as  the  leader  of  the  independents 
began  to  draw  heavily  on  the  trained  forces 
of  Biograph,  the  most  advanced  of  the  pro- 
ducing concerns  in  the  Patents  Company 
group.  Biograph  under  Griffith  was,  in  effect, 
the  training  school  for  actors  and  directors  and 
the  experimental  research  establishment  for 
the  evolution  of  the  art. 

Harry  Salter,  a  director  who  had  been  asso- 
ciated with  Griffith  on  the  stage  and  on 
through  his  Biograph  connection,  was  taken 
over  by  "Imp"  at  the  same  time  that  this 
aggressive  independent  took  away  "The  Bio- 
graph Girl,"  Florence  Lawrence.  And  the 
early  payrolls  of  "Imp"  include  the  names  of 
many  others  who  had  appeared  in  early 
Biograph  casts. 

In  the  late  fall  of  1910,  Joseph  Smiley,  a 
member  of  the  "Imp"  stock  company,  was 
strolling  Broadway  at  the  lunch  hour  when 
he  encountered  his  friend,  Thomas  H.  Ince, 
an  actor.  Ince  was  in  off  the  road  at  the  end 
of  an  indifferent  summer  season,  broke  and 
"resting,"  as  they  say  onBroadvvay.  Smiley 
volunteered  the  information  to  his  stage  as- 
sociate that  he  was  now  working  in  the  pic- 
tures. Ince  made  a  wry  face  to  indicate  his 
sympathy  with  this  sad  plight  and  in  the  next 
instant  eagerly  inquired: 

"Any  chance  for  me?" 

"Sure,"  Smiley  answered,  "come  on." 

Salter,  the  director,  took  Ince  into  the  cast 
of  the  picture  in  progress  as  a  "heavy"  at 
five  dollars  a  day. 

This  was  the  screen  debut  of  the  man  who, 
as  a  maker  of  pictures  in  the  years  to  come, 
was  to  build  up  the  largest  personal  fortune 
among  the  directors  of  the  screen.  In  less 
than  fourteen  years  this  five  dollar  a  day 
"heavy"  is  credited  with  something  between 
five  and  six  million  dollars. 

Ince  came  of  a  stage  family  and  grew  up  in 
the  Thespian  life.  As  a  youngster  he  appeared 
in  many  of  the  plays  which  took  the  road  from 
New  York,  most  notable  among  them  perhaps 
being  James  A.  Heme's  production  of  "Shore 
Acres."  There  was  an  interlude  in  his  stage 
career  one  summer  when  Mr.  Thomas  H. 
Ince  was  a  bus  boy,  carrying  the  dishes  at 
Pitman  Hall,  a  White  Mountain  resort.  He 
took  the  ups  and  downs  as  they  came,  probably 
never  dreaming  of  the  ups  that  were  to  come. 
In  the  cast  of  "Hearts  Courageous"  at  the 
Broadway  theater  in  New  York,  Ince  met 
William  S.  Hart  and  struck  up  a  friendship 
that  was  filled  with  potentialities  of  the  future 
for  both  of  them. 

One  of  Ince's  smiling  reminiscences  is  of 
the  gloomy  Christmas  Day  of  1905  when  he, 
Hart  and  Frank  Stammer,  also  an  actor,  found 
themselves  cheerless  and  broke,  at  the  Bar- 
rington  hotel  in  New  York.  Just  when  the 
day  seemed  the  most  dismal,  Stammer  re- 
ceived a  present  of  a  roasted  turkey,  accom- 
panied by  fitting  decorations.  In  the  years 
ahead  it  was  on  the  cards  that  Ince  and  Hart 
were  to  share  a  good  deal  of  "turkey." 

While  Ince  was  working  on  his  first  picture 


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at  "Imp,"  Mrs.  Trice,  known  to  the  stage  as 
Alice  K.er>havv,  found  an  engagement  playing 
in  Biograph  pictures  under  the  direction  of 
Frank  Powell.  The  director  suggested  that 
she  might  hrintr  her  husband  to  the  ;-tudio. 
So  Thomas  Ince  made  hi\  one  and  only  Bio- 
graph  appearance  in  a  comedy,  entitled  "His 
New  Lid,"  the  Biograph  release  of  November 
24,  ioro. 

But  when  Tnce  next  encountered  Smiley  he 
was  invited  back  to  "Imp." 

"You  made  a  hit,"  Smiley  informed  him. 
"(io  see  Tom  Cochrane — he  likes  your  work." 

By  this  time  the  shrewd  young  Mr.  Ince 
had  made  a  discovery  for  himself.  He  was 
rather  short  and  unheroic  of  proportions. 
He  decided  that  he  was  not  of  the  architecture 
of  which  stars  of  the  screen  would  be  made. 
He  therefore  decided  that  he  would  be  a 
director  and  plotted  deep  to  that  end.  Now 
was  his  opportunity. 

Ince  argued  with  Cochrane  that,  if  he  re- 
turned to  "Imp,"  he  should  be  given  the  first 
opening  as  a  director.  This  was  reluctantly 
agreed.' 

Then  came  the  day  when,  overhearing  a 
telephone  conversation,  Ince  discovered  that 
a  director  had  quit.  He  marched  up  to 
Cochrane. 

"That  makes  me  a  director,"  Ince  an- 
nounced. 

Cochrane  hesitated.  Presumably  he  had  not 
intended  this  development  at  all,  but  Ince 
was  cocky  and  insistent. 

"Yes,  sure."  A  smile  spread  over  Coch- 
rane'? face.  He  had  to  see  it  through.  "You 
start  now." 

The  actors  of  the  "Imp"  company  had 
seemingly  less  enthusiasm  for  Ince  as  a  director 
than  Cochrane.  The  cast  gave  the  new 
director  the  cold  shoulder.  Ince  was  annoyed 
with  the  amateurish  high  school  girl  scenarios 
available  and  resurrected  a  bit  of  verse,  en- 
titled "Little  Nell's  Tobacco,"  for  his  first 
production.  Hayward  Mack,  later  a  director, 
played  the  lead. 

When  the  picture  was  completed,  Carl 
Laemmle,  accompanied  by  Mr.  and  Mrs.  Ince, 
went  down  to  Fourteenth  street  to  see  it  in 
the  "Imp"  projection  room.  Throughout 
the  screening  of  the  picture  Ince  plied  Laemmle 
with  rapid  conversation  and  expounded  vigor- 
ously on  the  super-merit  of  the  picture.  It 
seems  to  have  been  a  masterpiece  that  needed 
a  good  deal  of  boosting.  Then,  as  it  finished 
on  the  screen,  Ince  seized  Laemmle  by  the  arm 
and  rushed  him  out  of  the  room  before  any 
adverse  comments  from  the  rest  of  the  audience 
could  be  overheard. 

In  this  fashion  Ince  made  himself  a  director. 

"Imp"  was  growing  more  and  more  cou- 
rageous. 

THE  raiding  of  Biograph  for  Florence 
Lawrence  had  proven  a  decidedly  profitable 
move.  Now  an  emissary  was  sent  down  to 
Biograph  again  to  see  if  "Little  Mary,"  a 
rising  screen  favorite,  could  be  lured  away 
from  Griffith.  She  could — for  $175  a  week, 
a  most  amazing  salary. 

Owen  Moore,  with  whom  Miss  Pickford  had 
been  playing  at  Biograph,  came  along.  They 
were  assigned  to  the  direction  of  Thomas  Ince. 

Presently  "Imp"  announced  for  release 
"Their  First  Misunderstanding,"  with  "Little 
Mary"  in  the  leading  role.  The  name  of 
Pickford  was  yet  unknown  to  the  screen  public. 
She  was  just  "  Little  Mary." 

Rut  the  Patents  Company's  lawyers  were 
pressing  hard  and  "Imp"  faced  the  immediate 
possibility  of  being  shut  down  by  injunction 
overnight.  Carl  Laemmle  had  been  planning 
to  send  Ince  and  his  company  to  California, 
but  an  escape  from  the  jurisdiction  of  the 
Tinted  States  courts  seemed  advisable.  Hast- 
ily, plans  were  made  for  a  flight  to  Cuba. 

C.  A.  Willat,  known  in  all  the  motion  picture 
world  as  "Doc,"  laboratory  chief  for  "Imp," 
was  sent  ahead  to  make  studio  arrangements. 

It  was  an  expedition  of  many  adventures. 

The  vessel  on  which  Ince  and  his  company 
-ailed   had   hardly   cleared   Ambrose   channel 


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120 


Photoplay  Magazine — Advertising  Section 


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See  Page  129 


when  Mr:~.  Pickford,  mother  of  Mary,  in  great 
excitement  demanded  of  Ince  and  the  captain 
of  the  ship  that  it  be  put  about  and  returned 
at  once  to  New  York.  She  had  discovered, 
not  entirely  to  her  pleasure,  that  "Little 
Mary"  and  Owen  Moore  had  been  secretly 
married  in  New  York,  shortly  before  the 
sailing. 

Peace  was  restored  with  difficulty  and,  in 
due  season,  the  party  was  landed  in  Cuba — 
followed  by  the  sleuths  of  the  Motion  Picture 
Patents  Company  and  J.  J.  Kennedy's  intel- 
ligence service. 

Doc  Willat  had  leased  a  forbidding  stone 
structure  as  quarters,  and  studio  for  the  com- 
pany. There  was  that  about  the  place  which 
seemed  chilling  and  inhospitable  to  the  actors. 
They  were  vastly  reassured,  however,  when  it 
was  explained  that  this  was  nothing  less  than 
the  Palacio  del  Carneado  of  Vedado.  Joseph 
Smiley  and  King  Baggot,  however,  did  some 
inquiring  on  their  own  account  and  found  that, 
in  spite  of  its  sumptuous  name,  the  Palacio 
was  in  fact  an  abandoned  jail.     They  moved. 

The  company  had  been  at  work  but  a  few 
days  when  everyone  became  mysteriously 
and  desperately  ill. 

The  situation  was  doubly  critical.  "Imp" 
inNew  York  was  dependent  for  its  very  existence 
on  the  uninterrupted  output  of  the  company 
in  Cuba. 

Ince,  recovering,  first  made  a  searching 
investigation.  He  found  that  Charlie  Weston, 
the  property  man,  with  an  eye  to  business  and 
personal  profits,  had  taken  to  Cuba  with  him 
a  very  large  wholesale  tin  of  cold  cream. 
Weston  calculated  that  there  would  be  no 
drugstores  in  Cuba  and  that  he  would. make  a 
fortune  out  of  selling  his  cold  cream  to  the 
actors  for  the  nightly  removal  of  their  make- 
up. So  far  so  good.  But  he  stored  his  drum 
of  cold  cream  in  the  kitchen  ice  box.  The 
Cuban  cook  decided  it  was  just  a  fancy  per- 
fumed American  lard  and  proceeded  accord- 
ingly. 

"That,"  remarked  Ince,  "explains  every- 
thing— fried  chicken  a  la  Colgate." 

In  Havana,  Ince  met  J.  Parker  Read,  who 
had  been  adventuring  about  Cuba  as  a  sales- 
man. He  employed  Read  as  an  interpreter 
for  his  dealings  with  the  Cubans. 

THE  cold  cream  catastrophe  had  hardly 
passed  when  internal  diplomatic  troubles 
arose.  Owen  Moore  and  a  property  boy  de- 
veloped a  feud,  resulting  in  a  lusty  battle. 
Swearing  vengeance,  the  somewhat  disfigured 
youth  announced  to  Ince  that  he  was  going 
to  prosecute  Moore  in  the  Cuban  courts. 

"Don't  do  it — we've  got  troubles  enough, 
now,"  Ince  interposed.  "But  go  ahead  and 
talk  about  it  all  you  want  to.  Make  a  noise 
about  it."  Ince  had  a  bit  of  a  scheme  for 
producing  peace  by  intimidation.  Also  Moore 
was  not  high  in  the  friendship  of  Ince  and  the 
company. 

At  Ince's  instance,  J.  Parker  Read  called  in 
an  ornate  Havana  policeman,  in  gold  lace  and 
grim  visage. 

In  a  loud  voice  to  be  heard  all  over  the 
studio,  Ince  exclaimed:  "No,  Mr.  Moore  is 
not  here.  I  do  not  know  where  he  is.  I 
think  he  has  gone  back  to  the  States." 

Whereupon  Read,  the  interpreter,  appar- 
ently translating,  spoke  long  and  earnestly  to 
the  policeman  about  the  weather  and  ended  by 
presenting  him  with  a  package  of  cigarettes. 

After  this  performance  had  been  repeated 
a  few  days,  Moore  became  apprehensive. 

Ince  meanwhile  talked  ominously  about  the 
desperate  character  of  Cuban  courts  and 
Cuban  justice.  Anything,  it  seemed,  might 
happen  to  a  man  if  he  were  once  arrested. 
The  lighter  offenders  were  merely  burned  alive. 
Serious  affairs  naturally  took  more  serious 
attention. 

The  hoax  gathered  momentum  and  at  last 
Moore  yielded  to  what  seemed  discretion. 
Without  removing  his  make-up,  he  departed 
from  the  harbor  of  Havana  and  returned  to 
New  York. 


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Photoplay  Magazine — Advertising  Section 


I  2  I 


The  feeling  that  grew  out  of  this  incident 
led  in  time  to  the  return  of  Mary  Pickford  to 
Biograph. 

The  war  of  "Imp"  against  the  Motion 
Picture  Patents  Company  had  an  incidental 
result  of  interest  in  the  formation  of  totally 
unrelated  business.  Watterson  R.  Rothacker, 
the  Chicago  representative  of  Billboard,  an 
amusement  journal,  in  the  opportune  year  of 
ioio  was  struck  with  the  possibilities  of  a  busi- 
ness devoted  to  the  making  of  motion  pictures 
for  industrial  and  advertising  purposes.  He 
looked  about  for  backing  and  discussed  his 
project  with  Carl  Laemmle  and  Robert  Coch- 
rane, of  the  Independent  Motion  Picture 
Company. 

This  was  at  one  of  the  many  moments  when 
another  Patents  Company  injunction  blow 
was  about  to  fall. 

Cochrane  and  Laemmle  were  not  especially 
interested  in  advertising  pictures,  but  they 
saw  a  handsome  legal  loophole  in  sight.  They 
agreed  to  finance  Rothacker's  project  if  he 
would  name  it  "Industrial  Moving  Picture 
Company" — thus  giving  it  those  same  valu- 
able, trademarked  initials,  I M  P.  In  the  event 
the  Independent  Company  was  shut  down 
by  the  courts,  the  producing  activities  could, 
at  an  instant's  notice,  be  shifted  over  to  the 
Industrial  Company  and  the  trademark  would 
be  saved  along  with  the  product — at  least 
until  a  new  injunction  should  issue. 

Meanwhile  the  trend  of  the  court  war 
shifted.  The  emergency  situation  which  gave 
Rothacker  his  opportunity  passed  without  a 
crisis  and,  two  years  later,  he  purchased  the 
"Imp"  interests.  Presently  the  concern  took 
on  its  present  name,  the  Rothacker  Film  Man- 
ufacturing Company. 

Many  advertising  and  industrial  pictures 
were  made  before  1910.  As  we  have  noted  in 
earlier  chapters,  Haig  &  Haig  put  whiskey 
advertisements  on  a  street  screen  on  Broad- 
way as  early  as  1897.  But  Rothacker  was 
first  to  see  the  serious  business  possibilities  of 
the  advertising  picture.  His  first  release,  back 
in  1911,  was  "Farming  with  Dynamite,"  a 
one-reeler  calculated  to  show  that  nitro- 
glycerine is  mightier  than  the  plow. 

The  prosperity  of  the  "Imp"  concern  and 
Laemmle's  film  service  in  defiance  of  the  trust 
increased  the  general  courage  of  the  inde- 
pendent field,  and  others  rapidly  rose  to  co- 
operate and  compete.  A  brand  new  war,  a 
desperate  civil  war  among  the  independents 
was  brewing,  long  before  the  main  issue  with 
the  Patents  Company  had  come  to  a  conclu- 
sion. In  our  next  chapter  we  shall  see  some 
of  the  humor  and  desperation  of  this  conflict 
among  the  independents  and  trace  some  of  its 
consequent  effects  toward  the  making  of  the 
great  names  of  the  screen  ofjtoday. 

[  TO  BE  COXTINUED  ] 


What's  Going  to  Happen 
to  Jackie  Coogan? 

[  CONTINUED  FROM  PAGE  39  ] 

finally  said,  gruffly:  "I'll  stake  you  to  the 
difference  if  you  haven't  enough." 

"I  guess  I'll  have  to  borrow  thirty  cents, 
then,"  perspired  Jackie.  Then  turning  to  his 
Dad  he  said:  "My  goodness,  Daddy  dear,  this 
place  is  more  expensive  than  the  Ritz.  Forty- 
seven  dolla  rs  for  seven  people .    My  goodness ! ' ' 

The  ruffians  howled,  and  the  waitress,  who 
had  framed  with  the  monsters,  came  forward 
with  the  correct  bill;  it  was  for  seven  dollars. 

Jackie  wiped  his  brow  and  smiled  wanly.  "I 
thought  somebody  was  framing  on  me.  But 
I'm  through.  Here,  Daddy  dear,  take  it  all — 
I'm  through  with  money.  It  has  only  brought 
me  trouble."  And  with  a  prodigal  gesture  he 
swept  his  finances  across  the  table  to  his  father. 

Today  Jackie  Coogan  is  a  happy  man.  He 
still  demands  fifty  cents  for  every  gag  he 
thinks  up  for  his  director,  but  he  spends  it  as 
fast  as  he  gets  it.    His  particular  vice  of  ex- 


Asold  as  the  East  itself  is  the 
Lure  of  Incense.  Through 
its  winding  wreaths  comes 
the  dreamy  tinkle  of  temple 
bells;  the  Mystery,  the  Ro- 
mance and  Enchantment 
of  brilliant  days  and  starlit 
nights;  and  a  fragrance  en- 
ticing. 


Burn  incense  in  your  home  tonight— but 


—be  sure  that  it  is  Vantine's  Temple 
Incense,  the  true  Oriental  incense  that 
Vantine  brings  to  you.  Let  the  scent  of 
your  favorite  fragrance  surround  you 
tonight  and  add  its  intangible  charm 
to  the  creating  of  your  personality. 

f  Temple  Incense 

Vantine's  Temple  Incense  is  sold  at 
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powder  and  cone  in  25c,  50c.  and  75c. 
packages. 

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He  is  both  irresistible  and  useful  as 
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I  22 


Photoplay  Magazine — Advertising  Section 


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penditure  is  buying  presents  for  people.  Par- 
ticularly for  his  mother. 

.  And  so  Jackie  Coogan  at  eighty  will  never 
be  the  spendthrift  that  John  D.  Rockefeller  i-, 
giving  away  nickels  on  his  birthday. 

Though  financially  defunct  at  the  ripe  old 
age  of  nine,  he's  hale  and  hearty.  I  wouldn't 
go  so  far  as  to  say  he  was  a  socialist.  There's 
nothing  radical  in  his  attitude  to  lead  you  to 
suspect  that  he's  a  secret  emissary  of  the 
Soviet,  but  he  certainly  is  won  over  to  the  idea 
that  the  love  of  money  is  the  root  of  all  evil. 

And  let  me  say  here,  in  tribute  to  Coogan 
pert  and  Coogan  mere,  Jackie  has  never  been 
allowed  to  know  of  his  wealth.  His  mind  is 
absolutely  free  from  any  appreciation  of 
money,  any  worldly  taint  or  false  valuation. 

I  have  never  encountered  a  child  so  un- 
spoiled, so  beautifully  trained,  so  spiritual  and 
lovable  of  nature  as  little  Jackie  Coogan. 

Will  he  continue  to  keep  this  rare  quality  of 
mind  and  spirit?  Will  that  fine  spark  which 
Charlie  Chaplin  beheld  with  ecstasy  and 
brought  to  a  beautiful  glow  be  preserved 
through  the  transition  from  child  to  man? 

Judgment  is  easily  blurred  by  sentiment  in 
the  presence  of  such  a  child  as  Jackie.  He 
evokes  not  only  love,  but  a  strange  reverence, 
almost  awe.  You  treat  him  not  with  the  con- 
descension of  man  toward  child,  but  with 
deference  due  an  equal.  And  he  responds  in 
kind. 

After  meeting  him  several  times  with  his 
serious  little  manner,  his  courtesies  and  pro- 
found remarks,  you  wonder:  "Am  I  hypno- 
tized? Can  I  be  deluded  by  the  aura  of  celeb- 
rity that  surrounds  him?  Is  he  genius  or 
child — just  child?  "  Always  upon  leaving  him 
your  mind  queries,  "  Genius  or  child?  " 

Three  years  ago  I  spent  an  afternoon  with 
Jackie,  playing  games  on  the  floor.  We  talked. 
He  danced  for  me.  And  recited  with  a  rever- 
ence close  to  holy  the  words  of  "My  Madonna." 
I  thought  of  the  Young  King  who  stood  in  rags 
on  the  steps  of  the  altar.  .  .  .  And  lo!  through 
the  painted  windows  came  the  sunlight  stream- 
ing upon  him.  and  the  sunbeams  wove  round 
him  a  tissued  robe  that  was  fairer  than  the  robe- 
that  had  been  fashioned  for  his  pleasure;  he 
stood  there  in  king's  raiment,  and  the  glory  of 
God  Tilled  the  place,  and  the  trumpeters  blew 
upon  their  trumpets,  and  the  singing  boys 
sang,  and  the  Bishop's  face  grew  pale,  and  his 
hand-  trembled.  "A  greater  than  I  hath 
crowned  thee.''  he  cried,  and  he  knelt  before 
him.  ...  1  thought  of  Jackie  as  the  Young 
King.  And  I  went  away  wondering.  Three 
years  later  I  returned,  still  wondering,  and 
again  I  found  the  Young  King. 

For  me  Jackie  Coogan  is  a  masterpiece  of 
life.  Can  the  world  change,  or  time  alter,  such 
a  masterpiece?  Is  he  an  artist  inspired  at  birth 
or  just  a  phenomenon,  a  precocious  child? 

I  -ought  the  answer  from  his  maestro,  the 
greatest  of  our  artists,  the  man  whom  Jackie 
respectfully  salutes  as  "Mr.  Chaplin." 

Chaplin  Talks  About  Jackie 

Chaplin's  face  illumined  when  I  spoke  of 
Jackie,  and  his  eye-  shone.  "Ah,  Jackie,  won- 
derful Jackie!"  he  exclaimed,  and  then  I  knew 
that  the  story  is  true — Charlie  Chaplin  loves 
Jackie. 

"When  I  had  the  little  fellow  he  was  just 
four.  It  was  hard  to  get  his  attention,  but 
what  a  marvelous  understanding,  what  deli- 
cacy  of  feeling! 

"Jackie  is  inspiring  and  inspired.  Just  lo  lie 
in  his  presence  is  to  feel  inspiration.  His  per- 
sonality i-  beautiful,  lovely.  It's  spiritual. 
You  feel  close  to  spirituality. 

"I  was  all  enthusiasm  about  him  when  I 
directed  him  in  'The  Kid.'  I  tried  to  have  him 
do  the  things  I  thought  a  child  should  do.  A 
child  should  be  joyous  and  free — not  senti- 
mental or  emotional — joyous  and  sunny  and 
natural.     He  was  that  in  'The  Kid.' 

"I  saw  him  recently  in  'Daddy.'  I  didn't 
like  some  of  the  things  they  had  him  do.  I 
don't  like  to  see  a  child  in  scenes  of  mature 
emotion — weeping  over  a  deathbed  and  such. 
Yet    such    ^cenes    were    lovely    just    because 


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Jackie  did  them.  He  can't  do  anything  that 
isn't  beautiful  and  true. 

"He  has  a  personality  that  humanizes  every 
situation.  His  personality  is  like  Mary's. 
Mary  can  play  the  most  awful,  sentimental, 
Pollyanna  things  and  they're  charming  just 
because  it's  Mary.  Her  personality  is  like 
that. 

"I  must  say  I  like  the  way  Jackie's  parents 
are  rearing  him,  naturally  and  simply.  He  is 
just  the  same  as  he  was  at  four  so  far  as  his 
quality  is  concerned.  In  '  Daddy '  he  shows  the 
same  talent  and  personality  as  in  'The  Kid.' 
I  really  think  he  is  greater.  His  mind  is  de- 
veloping, unfolding. 

"He  is  an  artist,  unquestionably  an  artist. 
He  can  take  you  so  delicately  across  the  line 
from  reality  to  fantasy  and  back  again. 

"The  essential  thing  is  to  keep  his  little 
mind  clear  of  all  opinions,  prejudices,  creeds, 
religions  and  manufactured  thought.  It  is 
such  a  fine,  sensitive  mind  that  it  mustn't  be 
twisted. 

"And  I  don't  like  to  see  him  attending 
Chamber  of  Commerce  banquets,  press  lunch- 
eons and  all  such,  sitting  at  the  head  of  the 
table,  receiving  homage  and  applause.  So  far 
he  hasn't  been  affected,  but  there's  a  danger. 

"It  isn't  easy  to  predict  his  character.  The 
only  thing  that  makes  character  is  a  kick  in  the 
pants.  A  lot  of  kicks.  Hardships.  And  life 
will  be  very  easy  and  comfortable  for  Jackie. 

"The  only  thing  against  him,  really,  is  what 
people  would  call  his  good  fortune.  He  has  a 
wonderful  personality.  Great  spirituality. 
And  he  is  an  artist.  Yes.  little  Jackie  has  a 
very  great  gift." 

Mary  and  Dong 

Although  Mary  Pickford  is  less  familiar  with 
Jackie's  work  and  personality,  her  view  is 
similar  to  that  of  Chaplin. 

"I  do  not  see  why  he  cannot  continue  as  an 
actor  right  through.  It's  quite  possible.  I  did. 
I  wasn't  much  older,  when  I  started  my  career, 
than  Jackie  was  in  'The  Kid.'  " 

"No.  and  you're  not  now,-"  interposed  Doug. 
"You're  still  playing  child  roles." 

"Of  course  a  great  deal  depends  on  the  way 
he  is  educated  and  upon  the  influences  about 
him,"  continued  Mary.  "I  think  his  father  is 
very  wise  in  a  business  way.  He  is  seeing  to  it 
that  work  does  not  crowd  out  play.  Jackie  is 
getting  his  full  measure  of  healthy  play  and 
education,  I  believe. 

"I'm  sure  Jackie  has  real  talent.  And  I  be- 
lieve he  will  continue  as  an  artist  if  fate,  in  some 
form,  does  not  interfere.  I  truly  hope  he  does 
fulfill  his  wonderful  promise,  not  only  for  his 
sake,  but  for  Charlie's.  We  mustn't  forget  in 
our  appreciation  of  Jackie  the  wonderful  genius 
that  has  inspired  him." 

Doug  is  characteristically  emphatic.  He 
believes  that  the  child  can  continue  as  an  actor 
as  long  as  he  chooses. 

"I  can't  see  that  he  has  been  spoiled  in  the 
least  in  five  years,  and  he's  nine  now.  Why 
should  he  change  in  the  next  few  years,  except 
to  develop  further?  " 

Jackie's  Next-Door  Neighbor 

"Being  Jackie's  next-door  neighbor  I  have  a 
chance  to  see  a  great  deal  of  him,"  remarks  Rex 
Ingram,  whose  bungalow  is  next  to  Jackie's  on 
the  Metro  lot,  "a  lot  of  opportunity  to  observe 
him — and  to  dodge  his  golf  balls,  base  balls  and 
sling  shots.  I  sometimes  doubt  whether  Jackie 
will  be  an  actor  when  he  grows  up.  It  looks  to 
me  as  though  he  would  be  a  sportsman.  The 
time  he  spends  before  the  camera  is  little  in 
comparison  to  the  time  he  devotes  to  sport. 

"He's  all  boy,  utterly  natural.  While  he  has 
all  the  joy  of  a  real  artist  in  working  before  the 
camera,  he'd  rather  play,  and  as  soon  as  the 
camera  stops  he's  off  the  set  playing  ball  or 
running  a  race  with  one  of  his  buddies. 

"He  certainly  is  an  extraordinary  person- 
ality and  a  born  actor.  His  future  as  an  artist 
depends  entirely  upon  the  way  he  is  handled. 
He  is  not  primarily  a  comedian,  as  some 
suppose.  The  poetic  quality  is  stronger  in  him 
than  the  comic  spirit.    He's  not  one  of  those 


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smart,  wise-cracking  kids.  He  has  nice  taste, 
inherently.  Wry  fine  sensibilities.  There  is 
clanger  of  over-directing  him,  causing  him  to 
imitate  rather  than  create.  Since  he  is  so  alert 
mentally,  the  scene  should  he  explained  to  him 
and  left  largely  to  his  imagination  to  interpret. 
I  have  noted  some  tendency  in  one  or  two  of 
his  past  pictures  toward  directing  him  to  act 
like  an  actor,  an  adult.  When  he  does  this  he 
becomes  an  impersonator,  an  exceedingly 
clever  impersonator,  too,  but  not  the  artist 
that  he  is  capable  of  being. 

"With  nice  discretion  in  the  matter  of  select- 
ing stories  and  directors,  Jackie  will,  I  think, 
undoubtedly  develop  into  one  of  the  greatest 
adult  actors  of  the  screen,  just  as  he  has  proved 
to  be  the  greatest  of  all  child  actors." 

As  Seen  by  Harold  Lloyd 

"I'm  not  qualified  to  pass  judgment  because 
I  have  only  seen  Jackie  in  one  picture  since 
'The  Kid."  I  perhaps  underestimated  the 
child's  talent,  feeling  it  to  be  a  product  of 
Chapljn's  directorial  genius.  He  certainly  has 
a  most  appealing  quality  in  him,  and  his  in- 
telligence is  obvious  in  the  way  he  responded  to 
Chaplin's  teaching.  Time  alone  can  answer 
the  question,  but  the  best  prophet  you  can 
consult  is  Charlie.  He  knows  the  soul  of  the 
child." 

Jackie's  Father  and  Supervisor 

Jack  Coogan,  Sr.,  is  the  supervisor  of  his 
son's  productions  and  career.  A  vaudeville 
performer,  a  rather  clever  inventor  of  the  gags 
that  get  the  laughs  from  vaudeville  crowds,  he 
also  negotiated  Jackie's  present  contract  with 
Metro  which  brought  an  advance  payment  of 
half  a  million  for  Jackie's  services  in  four 
productions. 

"We  are  taking  our  time  making  these 
pictures,"  says  Mr.  Coogan.  "We  probably 
will  not  make  more  than  two  a  year,  so  Jackie's 
actual  working  time  before  the  camera  is  only 
three  or  four  months  out  of  the  year. 

"What's  going  to  happen  to  Jackie?  That's 
impossible  to  answer.  We  have  no  plans.  We 
never  have  had.  We  want  him  to  develop 
naturally.  If  he  wants  to  become  a  farmer, 
we'll  be  just  as  happy  to  have  him  one  as  to 
have  him  a  star.  We  never  dreamed  to  be  in 
our  present  position  and  never  realized  Jackie's 
possibilities. 

"As  soon  as  Jackie  finishes  work  in  a  scene 
he  is  off  the  set  playing.  We  always  have  kids 
of  his  own  age  around  for  him  to  play  with.  He 
has  a  tutor  and  is  studying  reading,  writing  and 
arithmetic  just  like  any  other  child  his  age, 
except  that  I  think  he  is  in  advance  of  his  age 
in  aptitude." 

Jackie,  Himself,  Replies 

Three  years  ago  when  I  saw  Jackie  I  asked 
him  what  he  intended  to  be.  "A  camera  man," 
he  replied  promptly.  He  refused  to  consider 
the  profession  of  actor  as  a  permanent  means 
of  livelihood.  "I  have  three  more  pictures  to 
make,  and  that's  enough,"  he  said  shortly, 
referring  to  the  pictures  required  under  his 
former  contract  with  First  National.  Oh,  yes, 
he  liked  to  act  well  enough,  he  said — but  he 
liked  to  play  better.    Much  better. 

When  I  was  talking  with  his  father  in  the 
studio  bungalow,  Jackie  in  overalls  came  dash- 
ing in,  very  flushed,  in  quest  of  his  base  ball 
mitt.  A  highly-freckled  friend  was  waiting 
outside,  his  nose  flattened  against  the  screen 
door. 

I  caught  Jackie  as  he  dashed  out,  having 
located  the  mitt. 

"What  are  you  going  to  be  when  you  grow 
up,  Jackie?"  I  asked. 

"That's  very  hard  to  say,"  replied  Jackie 
tersely. 

The  screen  door  slammed,  and  Jackie's 
voice  enthusiastically  rent  the  air:  "Come 
on,  let's  play  ball!" 


ANY  beautiful  woman  is  fascinating  to  a 
man  providing  he  isn't  married  to  her.  — 
Town  Topics. 


All  the  other  gifts  are  forgotten  when  they 
see  how  easy  it  is  to  coax  those  joyful  Yule- 
tide  tunes  out  of  the  melodious  Hohner! 

HOLIDAY 
HARMONY 

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Beefsteak  and  Onions 

[  CONTINUED  FROM  PACK  47  ] 

He  walked  away,  filled  with  strange  emo- 
tions, holding  up  his  baggy  pants  and  won- 
dering how  the  lordly  creature,  who  despised 
even  the  proud  leading  men,  could  stoop  to 
treat  him  kindly. 

"I  must  have  made  a  hit  with  her,"  he 
muttered.  "Gee!  What  a  woman  she  is. 
Suffering  snakes!     What  a  pip" 

Whereupon,  without  any  preliminaries  what- 
ever, Homer  Giffen  proceeded  to  fall  desper- 
ately in  love  with  the  Balkan  siren,  who  had 
come  from  Europe  to  dent  her  name  upon  the 
fair  face  of  American  Art.  Being  gifted  with 
ordinary  intelligence,  Fanny  Fay  discovered 
this  catastrophe  within  two  days.  She  en- 
countered Homer  making  his  way  ecstatically 
out  of  the  Posdrovna  set,  walking  upon  unseen 
bubbles. 

"Say,"  said  Fanny,  a  blunt  girl.  "What's 
the  big  idea?" 

"Finish  it,"  said  Homer.  "What  are  you 
talking  about?" 

"  How  come  you  to  be  hanging  around  this 
Posdrovna  woman?" 

"Oh,"  Homer  grunted.  "That's  it?  We 
got  to  the  point  where  I  have  my  conduct 
edited,  hey?  I  got  to  ask  somebody  which  set 
I  can  hang  around,  huh?  There  ought  to  be 
a  laugh  in  that  somewhere." 

FOR  the  first  time,  Fanny  stared  at  Homer 
without  kindness  in  her  eyes.  She  was 
both  angry  and  fearful.  She  had  seen  men  slip 
their  moorings  before.  There  was  no  further 
conversation  about  Posdrovna — in  fact  little 
conversation  about  anything.  The  big  chill 
had  set  in  and  as  the  days  moved  majestically 
by,  Fanny  understood.  She  and  her  sweet- 
heart were  splitting  wide  asunder.  Their 
little  candle  had  been  blown  out  by  a  foreign 
breath.  The  house  on  Sunset  became  a  sad 
dream  of  past  days. 

Everyone  in  the  studio  was  presently  aware 
of  the  incomprehensible  thing  that  had  hap- 
pened. A  haughty  Balkan  actress,  sneering 
at  the  Fairfame  Corporation  and  all  its  moguls 
and  stars,  had  smiled  benignly  upon  Homer 
Giffen,  who  had  never  been  to  school  and  cer- 
tainly was  not  the  figure  of  a  Great  Lover. 
He  was  not  beautiful  and  he  liked  to  chum 
with  prize  fighters,  yet  he  was  the  only,  one 
who  could  stroll  casually  in  upon  Posdrovna 
and  talk  over  the  time  of  day. 

He  began  dropping  into  her  dressing  room, 
formerly  literary  headquarters,  to  the  won- 
derment of  .her  maid.  He  brought  her  oranges, 
of  which  she  was  insanely  fond.  At  eventide, 
with  the  day's  work  ended,  it  was  runty  Homer 
Giffen  who  walked  out  with  Rosa,  through  her 
private  hole-in-the-fence,  and  stepped  proudly 
into  her  gray  limousine. 

He  rode  with  her  to  her  beautiful  villa,  and 
her  servants  waited  upon  him,  feeding  him 
little  sardines  and  strange  viands  from  Sicily. 
They  went  in  state  to  the  beach  and  swam  in 
the  surf,  with  the  populace  gazing  from  a  dis- 
tance upon  the  beautiful  form  in  its  flashing 
silks.  Hollywood  began  to  buzz.  Hollywood 
can  begin  to  buzz  easier,  with  less  effort  than 
another  city,  because  its  buzzings  come  so 
often. 

It  was  the  general  understanding  in  the 
studios  and  elsewhere  that  Royal  Rosa  found 
Mr.  Giffen  amusing.  How  could  she  love 
him?  Highland  Avenue  asked  Hollywood 
Boulevard.  As  a  matter  of  truth,  Homer 
could  entertain  anyone,  when  he  desired  to. 
His  mind  was  nimble  enough.  In  his  heart 
he  had  always  regarded  himself  as  a  genuine 
actor,  a  true  artist,  whose  qualities  were  con- 
cealed under  rough  comedy.  Some  day  he 
would  show  the  Fairfame  people.  He  would 
cease  tossing  pastry,  step  forth  and  take  his 
place,  his  proper  niche.  They  would  all  be 
astonished,  including  his  public. 

"I:  can  act,"  he  said  earnestly,  explaining 
to  Rosa,  after  their  association  had  ripened. 


r-5 


T^E-JUR. 

so  convenient-for 
its  so  complete 


'TpHE  TRE-JUR  triple  compact  is 
-"-  genuinely  complete.  It  is  a  true 
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Essentially  dainty,  the  jewel-like 
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to  use  the  other.  The  beauty  helps 
in  the  TRE-JUR  compact  are  scent- 
ed with  alluring  Joli-Memoire — an 


^Vr 


odour  that  is  subtle  and  haunting 
. '.  .  .  faintly  reminiscent  of  moon- 
light strolls  ...  of  rambles  thru 
summer  gardens  at  twilight.  Once 
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And  despite  the  superiority  of  the 
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Photoplay  Magazine — Advertising  Section 


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"You  probably  listened  to  them  and  think 
I'm  a  slapstick  comedian,  but  there's  a  lot  of 
tilings  you  don't  know  about  me.  I've  got 
the  goods,  and  some  time  I'm  going  to  deliver 
them." 

"You  are  a  fonny  fellow,"  replied  Rosa, 
smiling  up  at  him  gently.  "You  make  me 
think  of  the  leetle  monkey  with  the  stick." 

"Never  mind  the  funny  stuff,"  he  said.  "1 
don't  feel  funny.  I'm  serious  and  mostly,  I'm 
serious  about  you,  Rosa."  He  was  now  calling 
her  Rosa,  and  other  names,  which  he  invented. 

"Why  are  you  serious  about  me?"  she  in- 
quired, fixing  him  with  a  bright,  blue  eye. 

"Well,"  he  said,  and  his  manner  was  solemn, 
"I'd  like  to  marry  you,  Rosa." 

"Oh,  ho!"  she  laughed.  "Oh,  no,  Homaire! 
We  should  marree!" 

"Oh,  yes,"  he  insisted,  "and  quit  laughing 
about  it." 

"What  fonny  thoughts,"  she  said,  still 
smiling.  "You  are  not  for  to  marree  with 
me.  You  know  me  so  young,  Homaire.  Last 
week,  you  walk  in  ze  door,  but  where  you 
were  last  month?" 

"Yeh,"  he  continued  undisturbed.  "What 
you  mean  is  we  don't  know  each  other,  but 
that's  something  time  takes  care  of.  I  know 
when  I'm  in  love  with  a  woman,  and  I'm  in 
love  with  you,  for  keeps.  I'd  cut  my  right 
leg  off,  if  you  asked  me  to." 

"Oh,  fine,  Homaire,"  Rosa  gurgled,  patting 
his  cheek  gently.  "I  like  dat.  I  adore  you 
should  be  in  loaf  with  me,  because  you  are  one 
grand  little  skeezix.  You  are  the  onlee  man 
I  should  talk  with.  But  marreege — that  is 
not  for  now." 

"I  didn't  say  now,"  he  argued.  "In  the 
future.  And  I'm  not  going  to  keep  on  being 
a  comedian.  It's  the  bunk.  I'm  a  legitimate 
actor,  and  I'm  going  to  quit  comedies  and  step 
up  where  I  belong.  You're  going  to  help  me 
doit." 

"Oh,  fine,  Homaire,"  Rosa  said  again. 
"I  like  when  you  talk  crazee." 

THEY  continued,  as  time  passed,  to  be 
together,  to  discuss  love,  matrimony,  art, 
pictures  and  the  general  debility  of  directors. 
Homer  elucidated  a  few  of  his  plans,  which 
would  have  violently  upset  Charley  Zander 
and  the  corporation,  had  they  known. 

"I'm  not  going  to  make  any  more  Red  Bird 
pictures,"  Homer  declared,  lounging  on  the 
arm  of  Rosa's  chair  and  sipping  a  bright  glass 
of  wine.  Xow  and  then  he  touched  Rosa's 
midnight  tresses  and  glowed  within  him. 

"No?"  she  cried.     "  For  why  you  not?" 

Which  was  also  precisely  what  Charley 
Zander  would  have  inquired,  adding  a  few 
words  of  his  own. 

"Because  I'm  above  such  junk.  I'm  a 
leading  man,  by  rights.  I  can  act,  Rosa,  but 
they  don't  know  it  here.  I've  got  something 
in  me  that  never  has  come  out." 

"Yes,"  agreed  Rosa  wonderingly,  "but 
how  you  can  act  nice,  to  make  love?  You 
are  fonny  man.  Your  eye,  she  always  look 
inside." 

"I  know,"  he  answered  patiently.  "She 
look  inside  now,  but  she  won't.  I'm  going  to 
have  her  fixed— see." 

Rosa  the  Great  stared  incredulously  at  her 
adorer. 

"You  have  him  straight?"  she  demanded. 

"Sure.  There's  nothing  to  it.  I  could 
have  had  it  done  any  time.  A  good  eye  doctor 
can  set  it  straight  in  fifteen  minutes." 

Rosa  pondered  over  this  information.  In 
her  wild  Balkan  mind  was  the  uneasy  feeling 
that  if  Homer  had  his  eyes  straightened,  per- 
haps she  might  not  like  the  change.  He  might 
not  be  precisely  so  fonny. 

"And,"  continued  the  little  man  enthusias- 
tically, "I  want  to  work  with  you,  Rosa." 

"In  my  pictures?"  Rosa  asked,  amazed.  ' 

"  Certainly.  I  want  to  be  your  leading  man. 
You  and  I  together  will  make  the  finest  pic- 
tures ever  produced  in  America.  We'll  show 
them.  You  may  not  think  much  of  me, 
but  you've  never  seen  me  act." 

"You  can  act  good?"  the  lady  questioned. 


The  Waterproof  Rouge 

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[296  BROADWAY 

NEW  YORK.  N.V. 


FROM  FACTORY 

Arrci*  v.   to  you 


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j£  Wrinkles  about  the  eyesjfr 


"TO  smooth  out  crow's  feet,  wrinkles  on 
1  the  eye  lids  and  under  the  eyes, 
Elizabeth  Arden  makes  an  exquisite 
VENETIAN  SPECIAL  EYE  CREAM. 
Pure,  very  nourishing.  Feeds  the  del- 
icate tissues  about  the  eyes,  corrects 
crepey  lines,  prevents  hollows  and 
sunken  eyes.  Erases  crow's  feet  and  lines 
from  eye  strain  and  squinting.        $1.50 

Write  describing  the  characteristics  and 
faults  of  your  skin;  Elizabeth  Arden  will 
send  her  book  "The  Quest  of  the  Beautiful" 
and  a  personal  letter  outlining  the  treat- 
ment for  your  skin. 

fHiigaLetiQ  iWdLer) 

681-M  Fifth  Ave.,  New  York 
London,  25  Old  Bond  St.  Paris,  2  ruede  la  Paix 


o 
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Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


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"I'm  the  best  male  actor  in  America.  You're 
the  finest  woman  actress.  Think  that  over. 
Figure  out  what  we  can  do  together,  both 
in  the  same  picture,  you  the  star  and  me  the 
support!" 

He  beamed.  His  eyes  glistened  with  honest 
zeal. 

"You  fonny  man,"  Rosa  said  again. 

"Wait  till  I  have  my  eye  fixed.  Then  tell 
me.  Look  at  my  figure.  I'm  a  pretty  good 
looking  guy." 

There  was  a  pause,  while  Homer  paced  to 
and  fro  in  meditation. 

"About  us  getting  married,"  he  resumed, 
"I  suppose  we  oughtn't  be  in  any  hurry." 

"No,  I  should  say  so,"  agreed  Rosa  readily. 
"Theenk  of  Sharlie  Zandaire — she  have  a  lit." 

This  was  unquestionably  true.  Charley 
would  have  had,  at  the  very  least,  four  fits. 
Fairfame  Pictures,  in  their  voluminous  adver- 
tising, had  been  at  great  trouble  to  indicate 
the  youth,  beauty,  virility,  lire,  passion  and 
virginity  of  Rosa  Posdrovna.  She  had  come, 
chorused  the  advertising,  practically  fresh 
from  the  convent,  with  bits  of  veil  still  cling- 
ing. She  was  innocent  of  the  vile  ways  of  man. 
a  delicate,  but,  as  D.  H.  Lawrence  would  put 
it  in  his  mild  way,  a  passional  lily,  plucked  in 
her  purity  from  the  damask  field. 

Further,  she  was  of  noble  blood,  which 
accounted  in  Hollywood  for  her  peculiar 
ability  to  make  tempestuous  love  on  the  screen. 
Rosa's  pictures,  as  you  probably  know,  are 
the  sort  that  make  a  man  go  home  and  stare 
at  his  wife  accusingly.  Hollywood  knows 
nothing  of  foreign  nobles,  except  that  they 
refuse  ice-water  and  seem  careless  about  their 
finger-nails. 

Thus  did  Homer  Giffen  and  Rosa  Posdrovna 
idle  away  the  changing  hours  in  the  stately 
mansion  found  for  her  by  Charley  Zander. 
Golden  hours  they  were  for  Homer.  He 
talked  of  love  and  marriage  and  of  how  he  was 
to  become  another  Valentino,  side  by  side  with 
the  beautiful  Rosa.  They  would  make  their 
masterpieces  for  Fairfame  and  send  them  out 
to  a  delighted  world.  There  would  be  no 
more  Red  Bird  comedies  to  disgrace  a  true 
artist.  The  days  of  slapstick  were  ended  for 
Homer  Giffen.  He  would  scale  the  artistic 
heights,  but  always  reverently  a  step  behind 
the  lovely  Rosa.  She  would  eternally  be  the 
queen. 

"And  I  will  love  you  always,"  he  swore. 
"We  will  have  a  beautiful  home  and  all  the 
money  we  need." 

Rosa  listened  smilingly,  her  beautiful  eyes 
hidden  behind  half-shut  lids.  Homer  made- 
very  fair  love,  when  warmed  up.  When  she 
shut  her  eyes  entirely,  there  was  magic  in  hi< 
voice,  a  soothing  quality  that  pleased  her. 
True,  Homer  used  occasional  subtitles,  which 
he  remembered  from  Jimmy  Wilmot's  pictures, 
but  many  a  love-sick  youth  does  the  same. 

"You  can  kiss  me,  Homaire,"  Rosa  sonic- 
times  said.  On  such  occasions,  Homer  «  ould 
carefully  put  out  his  cigarette,  tighten  his 
cravat,  take  a  long  breath  and  step  forward. 
But  we  draw  the  veil.  We  fade  out.  Who 
are  we,  to  be  staring  at  such  a  kiss — a  kiss  from 
the  Balkans,  with  no  censor  to  snip  a  single 
foot. 

AS  time  slipped  along,  and  the  weeks 
mounted,  Fanny  Fay  viewed  the  changes 
and  grieved  steadily.  Two  observed  that 
Fanny  was  far  from  prospering.  One  of  them 
was  Mother  Quinn  and  the  other  was  Charley 
Zander,  the  G.  M.  He  sent  a  pink  memo- 
randum to  Fanny's  dressing  room  and  the 
comedienne  called  at  his  office. 

"Say,"  he  said,  leaning  back  and  clasping 
his  fingers  behind  his  head.  "What's  the 
matter  with  you?" 

"All  right,"  retorted  Fanny  calmly.  "Now 
I'll  ask  one,  seeing  we're  doing  conundrums. 
What  is  the  matter  with  me?" 

"I  was  looking  at  you  the  other  day. 
You're  shrinking.  Say,  kid.  You're  getting 
thin." 

"Not  so  thin,"  she  answered.  "On  a  sunny 
day,  I  still  east  a  shadow." 

When  you 


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Dept.  21S-L  Grand  Rapids,  Mich. 


Photoplay  Magazine — Advertising  Section 

She  laughed,  but  there  was  little  mirth  in 
it.  Very  well,  Fanny  knew  that  Charley 
spoke  facts.  She  was  thinning  out.  Her 
mirror  mentioned  it  to  her  mornings.  Plump- 
ness was  her  all,  too.  She  knew  that.  She 
was  up  in  the  movies  because  she  was  a  stout 
girl.  Take  away  Fanny's  obesity,  and  you 
took  Fanny  smack  bang  off  the  screen.  As 
a  thin  extra  girl,  she  would  be  worth  roughly 
about  a  dime.  It  was  not  a  particularly  jollv 
interview,  and  it  closed  with  a  managerial 
warning,  a  blend  of  friendliness  and  business. 

"You  watch  yourself,  Fan,"  said  the  studio 
boss,  with  those  cold  eyes  of  his  upon  her  not- 
so-plump  cheeks.  "You  can't  afford  to  lose 
weight.  Jim  was  talking  to  me,  only  yester- 
day, about  you.  He's  noticed  it.  He  say-, 
if  you  keep  on  thinning,  he'll  have  to  play- 
somebody  else  opposite  Homer." 

So  that  was  it.  Fanny  knew-  the  "some- 
body else."  Elsie  Ryan,  and  Fanny  loathed 
Elsie.  Jim  was  the  director  of  Red  Birds,  and 
what  he  wanted,  he  got — instantly.  Fanny 
walked  alowly  out  of  the  offices,  and  as  her 
thoughts  were  still  on  the  subject,  she  drifted 
naturally  enough  into  Mother  Quinn's.  That 
grey-haired  and  kindly  dame  greeted  Fan. 
The  sharp  old  eyes  saw  the  same  thinness  that 
had  begun  to  fret  Fairfame  Pictures. 

For  man)'  weeks,  the  corner  table  near  the 
window  had  been  used  by  anyone  at  all — even 
strangers.  It  was  no  longer  reserved  for 
Homer  and  Fanny.  They  had  stopped  eating 
together,  of  course,  and  although  Fanny  still 
came  in  for  meals,  they  were  but  ghostly 
things. 


n 

i 
i 
i 
i 


W.  York  &  Sons,  Dept.  2  16 -L.Grand  Rapids,  Mich. 

Gentlemen:  Kindly  mail,  without  cost  to  me,  your  beautifully 
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Name 

Address 

Instrument . 


(Mention  above  the  instrument  most  Interested  in.) 

REAL  BEAUTY 

in  20  Minutes 


■p'AR  off  lands  have 
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SHE  ate  so  little  that  Mother  Quinn  wept. 
A  few  crackers  and  a  cup  of  tea.  A  mouth- 
ful of  celery  soup.  Now  and  then,  a  couple  of 
boiled  eggs,  but  never — never  beefsteak  and 
onions.  That  sturdy  dish  was  gone  from 
Fanny.  She  refused  it  petulantly  when  Moth- 
er Quinn  sought  to  bring  it  forward. 

"Listen  to  me,  honey,"  said  Mother  Quinn, 
when  Fan  had  seated  herself  and  asked  for  tea. 
''You're  making  a  fool  of  yourself.  No  man's 
worth  it.  Come  on,  now.  How  about  a  nice 
bit  of  steak  and  onions.  Just  once.  I've  got 
some  nice  young  onions,  just  in  fresh." 

Fanny  shook  her  head.  She  folded  her 
hands  and  stared  through  the  window  at  the 
bungalow  across  the  road.  The  little  house- 
wife still  fussed  about  her  veranda  and  Fan 
swallowed  a  lump  in  her  throat.  Mother 
Quinn  argued  and  then  sat  down  beside  her 
protege.  Fanny's  eyes  were  filled  with  tears 
that  fought  for  freedom. 

"  You're  getting  thinner  every  day,"  mourned 
the  old  lady.  "I  declare,  I  never  saw  the  like 
of  it." 

"So  Zander  says,"  Fanny  replied  dully. 
"He  further  says  that  if  I  don't  fatten  up, 
they're  going  to  ditch  me." 

"Another  girl  play  opposite  Homer?"  Mrs. 
Quinn  exclaimed.     "No!" 

Fanny  nodded. 

"It's  a  dirty  shame,  after  you  working  so 
hard  to  make  something  of  yourself.  Here 
you're  droopin'  away.  That  clang  fool  of  a 
Homer!" 

Mother  Quinn  knew  the  story,  of  course. 
Fanny  had  told  her. 

"He's  my  Homer,"  Fanny  said  miserably, 
and  the  held-in  tears  ran  over  and  trickled 
down  the  cheeks  that  were  a  bit  paler  than  of 
old.  "I  love  him.  No  woman  can  love  him 
like  I  do.  And  he  loved  me,  too,  until  this 
woman  came.  I'm  awful  unhappy,  Mother. 
I  can't  sleep  and  I  can't  eat.  I've  already 
lost  Homer  and  now  I'm  losing  the  job.  And 
if  I  lose  it,  that's  the  end  of  me." 

"No,  no,  no,"  Mother  Quinn  soothed  the 
girl,  stroking  her  shoulder.  "Maybe  if  I  gave 
him  a  good  talking  to,"  she  continued  weakly. 

"It  wouldn't  do  any  good,"  Fanny  sniffed. 
"He's  crazy  about  her.  I'm  just  a  fat  girl. 
Is  it  any  good  to  talk  to  a  man  when  he's  crazy 
about  a  woman?" 

Mrs.  Quinn  admitted  the  general  uselessness 
of  such  a  talk. 


Are  You  His 

"Dream  Eyes?" 

WHEN  he  is  away  does  he  dream  of 
your  eyes?    Does  he  send  flowers  to 
his  dream  eyes? 

You  can  have  eyes  that  he  will  remember  for 
their  beauty.  Use  WINX  to  darken  your 
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Winx  (black  or  brown)  75^.   To  promote  growth 

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WINX 

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,*' 


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Youth-Ami  Skin  Peel 

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"I"ve  got  some  nice  onions,  Fanny,"  she 
teased.  "Let  me  fix  you  up  just  a  little  dish." 
_  Fanny  refused,  gently,  but  firmly.  She 
sipped  her  tea,  ate  the  half  of  a  cracker  and 
started  for  home,  with  Airs.  Quinn  following 
her  to  the  door.  As  Fanny  departed,  the 
gaunt  and  familiar  features  of  Johnny  Appe- 
tite framed  themselves  in  the  entry  and  Mother 
Quinn  sighed  afresh.  Johnny  was  her  prin- 
cipal credit  customer. 

He  was  now,  as  always,  frankly  on  the  trail 
of  food,  and  any  kind  of  food.  No  stickler  or 
chooser  was  John  Appetite.  In  a  manner  of 
speaking,  he  attached  himself  some  time  ago 
to  Mrs.  Quinn  and  they  have  got  along  well 
as  provider  and  providee.  Johnny  is  a  Holly- 
wood character  and  by  some  is  described  as 
quaint. 

He  is  a  tall,  saturnine  individual,  with 
whiskers  and  a  hopeful  expression.  Years  ago 
he  drifted  in  with  the  tide  of  movie  extras 
and  became  a  pathetic  figure,  always  to  be 
found  at  studio  doors,  eager  for  the  scraps. 
All  he  has  ever  had  in  the  way  of  histrionic 
equipment  is  his  undeniable  set  of  dundrearys. 
They  give  him  a  benign  manner,  almost 
courtly.  They  hang  from  his  chin  carelessly, 
and  yet  with  a  certain  dignity.  Their  color 
seems  to  change,  but  never  their  length  or 
raggedness.  When  he  speaks,  Johnny's  fore- 
head wrinkles  in  unison  with  his  words.  His 
eyebrows  move  on  separate  circuits.  He  is 
a  strange  old  character,  poorly  dressed  and 
ever  on  the  edge,  and  when  the  companies 
require  whiskers,  Appetite  John  has  employ- 
ment. Between  jobs,  he  starves.  Hence  his 
title. 

Nobody  ever  knew  his  name  or  anything 
about  him,  or  where  he  lives.  His  main 
ambition  is  food  and  Mother  Quinn  has  be- 
friended him  since  he  first  appeared.  She 
"trusts"  him,  which  is  the  same  as  trusting  a 
canary. 

"Well,  Johnny,"  the  old  lady  said,  as  he 
entered  the  cafeteria.  "Where  you  been? 
Things  improving?" 

"What  I  need,"  answered  Johnny  in  a  hol- 
low voice,  "is  a  bowl  of  lamb  stew.  I  will 
recompense  you  in  good  time." 

"Sure,"  said  Mother  Quinn.  "Go  over 
there  and  get  what  you  want.  You  look  like 
a  scarecrow." 

An  instant  later,  John  was  standing  before 
the  food  counter,  deeply  engrossed. 

ABOUT  the  Fairfame  Studios  there  were 
sudden  rumors  of  strange  things  to  be, 
none  of  which  could  be  traced  or  made  into 
facts.  It  was  reported  that  certain  interesting 
things  were  to  take  place  within  the  Posdrovna 
unit.  That  imperious  creature  had  the  right 
to  select  her  own  leading  man,  as  well  as  her 
stories.  She  was  dissatisfied.  Things  were 
going  to  happen. 

Too,  there  were  whispers  about  the  Red  Bird 
Comedies  of  an  alarming  character.  It  was 
passed  about  among  friends  that  something 
had  got  into  Homer  Giffen  and  that  Fanny 
Fay  was  coming  down  with  a  serious  illness. 
The  director,  Mr.  Jim,  had  been  ready  to 
start  for  a  week,  yet  no  start  was  made. 

On  a  certain  famous  Saturday  morning,  Mr. 
Giffen,  wearing  a  new  checkered  suit,  carrying 
a  blond  cane,  adorned  with  spats  and  gener- 
ally decorative,  strolled  casually  into  Charley 
Zander's  office  and  tossed  a  bombshell.  Half 
an  hour  before,  he  had  telephoned  Zander  that 
lie  wished  a  private  conference.  In  itself  that 
was  disturbing. 

Homer  sat  down  at  the  mahogany  desk, 
across  which  so  many  hopeful  ones  have  heard 
their  doom.  He  twiddled  his  hat  for  awhile, 
coughed,  played  with  his  cane  and  stared  out 
of  the  window. 

"Well?"  asked  Charley.  "What's  on  your 
mind?" 

"Mr.  Zander,"  replied  Homer — always  be- 
fore, it  had  been  Charley — "Mr.  Zander,  I  am 
not  going  to  make  any  more  Red  Bird  Com- 
edies." 

Charley  lighted  a  cigarette,  slowly  and  care- 
fully, examining  the  end  with  needless  scrutiny. 


121 


f»°" 


ITS  OFF 

because 

ITS  OUT 


More  Entrancing 


are  tne  Kirls  and  women  of  today 
who  have  learned  that  the  secret 
of  feminine  beauty  is  the  elimina- 
tion of  a  coarse  <nasculine  appear- 
ance. What  robs  one  of  beauty 
more   than    unsightly,    unwanted 

masculine  hair  on  the  face  and  body!  But 
you  need  no  longer  submit  to  ft.  You 
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Women  of  Judgment 

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cause.  Indeed  ZIP  is  the  result  of  years  of  experiment 
and  has  been  acknowledged  as  the 

Scientifically  Correct 

method  for  eliminating  superfluous  hair.  Being  applied 
warm.  It  temporarily  opens  the  hair  ducts  and  permits  the 
easy  lifting  out  of  the  entire  hair  with  the  hair  follicle. 
Whatever  preparation  you  use, 

Rem  em  ber 

you  can  only  be  sure  if  you  SEE  the  roots  after  removing- 
the  application.  ZIP  is  easily  applied  at  home,  pleasingly 
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^^t^^Su^/ 


_s  y     Specialist      J 

Dept.  920  S62  Fifth  Ave.    t*n} 

(EnL  on  46th  Si.)     New  York  City   ^jf 


NOTE— Madame  Berthe  i,  the 
ONLY  manufacturer  of  a  ,u. 
per/luoua  hair  remedy  uho  hae 
eperiatized  solely  in  tuper- 
fluou,  hair  treatment  for 
eighteen  year,.  The  merit,  of 
ZIP  were  thoroughly  proven 
lono  before,  ZIP  tea,  told  to  the 
public  in  package  form.  ZIP 
ia  not  ■  depilatory  —  it  ia 
on   cpilator. 


'iinmnmiiiiiimimiiiiniiiHiinniiiinilllllllllllimTTTr 


MAIL  THIS  COUPON  TODAY 

MADAME  BERTHE— Specialist 

Dept.  920,  562  Fifth  Ave.,  New  York 

Plettee  tend  me  FREE  BOOK,   "Peatitu'tt  Grralent  Stent," 

tfltinti   how  to  he  henuttfttl;    nl..n  a  FREE  unmi'lr  of  j/our  Mae. 
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"Why?"    He  tried  to  hide  his  concern. 

"I'm  through  with  comedies.  No  more, 
la  the  future,  I  am  going  to  be  a  legitimate 
actor.  I  shall  play  leads  in  emotional  dramas 
and  build  myself  up  to  the  position  I  rightfully 
deserve." 

The  general  manager  breathed  smoke  and 
grinned.  Homer  Giffen  was  forever  joking  and 
this  was,  obviously,  one  of  his  queer  japes. 

"Is  that  so?"  asked  Charley,  still  smiling. 

"  Yes,  that's  so." 

"With  that  eye?"  Charley  chuckled  aloud. 
"With  that  eye,  you  are  going  to  be  a  leading 
man!     Have  sense,  Homer." 

Mr.  Giffen  smiled  the  superior  smile  of  one 
|  who  is  dealing  with  a  child. 

"I  am  to  be  operated  upon  Monday,"  he 
-aid,    simply.      "My   eyes    will    be    |  crfectly 
!  straight  Monday  afternoon." 

"Quit  kidding." 

Mr.  Zander's  smile  slowly  melted  away. 

"I'm  not  kidding.  I'm  telling  you  cold 
[acts.  With  my  eyes  straight,  I'm  a  good- 
looking  leading  man.  You  don't  know  it,  but 
I'm  an  artist." 

Charley  made  hacking  noises  in^his  throat, 
indicative  mainly  of  disbelief. 

"I've  got  the  same  stuff  that  put  Valentino 
where  he  is,"  Homer  continued.  "People  who 
see  me  playing  leads  in  Fairfame  Pictures  are 
going  to  recognize  that  Homer  Giffen  is  top- 
notch.  I've  got  youth,  sex  appeal  and  good 
looks,  and  that's  what  gets  'em." 

"Fairfame  Pictures,"  grunted  the  manager. 
"You  don't  think  we're  going  crazy  with  you, 
do  you?  " 

"You  are,"  said  Homer 

"In  your  hat,"  said  Charley.  "You  quit 
Red  Bird  Comedies,  and  you  quit  the  company. 
That's  straight."  . 

Mr.  Zander  stormed  for  a  moment  in  his  best 
manner.  When  he  finished,  Homer  was 
laughing. 

"What  you  don't  know,  Mr.  Zander,"  he 
said  pleasantly,  "is  that  I'm  to  play  leading- 
parts  with  the  Posdrovna  unit;  and  what  you 
do  know  is  that  Rosa  Posdrovna,  according  to 
contract,  picks  her  own  cast,  story  and 
director." 

Charley  Zander  mulled  over  this  undeniable 
fact  and  exploded  afresh.  To  him  the  prospect 
was  ridiculous.  A  pie-thrower  cannot  casually 
have  his  eyes  lined  up  and  begin  playing 
romantic  leads.  It  was  nonsense,  and  Charley 
so  declared. 

"I'm  going  to  see  Posdrovna, "  he  said. 
Afterwards,  I'll  talk  sense  to  you." 

"It  won't  do  any  good.  Rosa  and  I  have 
made  our  arrangements,  and  we  will  not  per- 
mit any  petty  official  to  interfere." 

Charley  waved  him  out  of  the  office.  As  he 
departed,  Homer  longed  to  add  that  he  was 
going  to  marry  Rosa,  but  she  had  warned  him 
against  spreading  news.  He  went  away,  leav- 
ing Mr.  Zander  lighting  cigarettes  that  were 
lighted.* 

The  paralyzing  news  spread  through  the 
studios  within  an  hour.  Red  Bird  Comedies 
were  no  more,  for  without  Homer  Giffen  and 
his  pigeon-toed  eyes,  the  public  would  have 
none  of  them.  Fanny  Fay  got  the  information 
in  her  dressing  room  and  sank  numbly  upon  a 
trunk.  Wild  telegrams  left  Hollywood  for  the 
New  York  offices  of  Fairfame  Pictures,  and 
Charley  Zander  dashed  hither  and  3-on  in 
search  of  the  Posdrovna.  She  had  started  for 
the  mountains  to  spend  a  week-end.  heedless  of 
the  tumult  behind  her. 

HOMER  spent  Sunday  contemplating  hi? 
future.  He  was  finished  with  the  comedies 
and  glad  of  it,  but  he  thought  of  Fanny  Fay 
with  a  little  twinge  of  remorse.  Too  bad  about 
Fanny.  A  mighty  nice  girl.  His  decision 
would  throw  her  out  of  a  job  and  she  might 
have  a  time  getting  another.  He  would  try  to 
help  her,  later  on,  for  old  sake's  sake. 

After  all,  there  was  one  big  fact  in  his  life, 
and  only  one.  He  loved  Rosa  Posdrovna,  and 
that  wild,  alluring  woman  loved  him.  She  had 
told  him  so  in  her  chopped-up  English:  They 
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131      Ihl.nr     ''l.r.t  Drpl.    89 

U  City 


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They  would  eventually  be  married  —  two 
notable  and  romantic  figures  of  the  silver  cloth. 

Fanny  drifted  down  to  the  beach  on  Sunday 
morning  and  spent  the  day  miserably,  sitting 
on  the  sands  and  looking  forward  to  the  col- 
lapse of  everything.  Her  professional  career 
was  gone,  for  without  Homer  they  didn't  want 
her — nobody  wanted  her.  Her  future  husband 
was  gone,  the  victim  of  a  Balkan  vampire. 
Fanny  studied  the  ceaseless  surf  and  wondered 
how  it  would  be  to  jump  in  and  end  everything. 

So  Monday  morning  came,  and  the  royal 
Rosa  entered  the  studio  through  her  private 
gate.  In  the  cafeteria,  Mother  Quinn  puttered 
over  her  dishes,  and  on  the  boulevard  a  certain 
Dr.  Hill,  a  youngish  man  with  a  pale  mustache, 
chucked  a  number  of  bright  knives  into  a 
leather  bag  and  prepared  to  call  on  Homer 
Giffen  and  sever  such  optic  cords  as  might  be 
necessary. 

Charley  Zander  strode  into  Rosa's  set  in 
anger,  asked  her  four  questions  and  was  about 
to  ask  her  a  fifth,  but  never  reached  it.  Rosa 
fell  into  one  of  her  justly  celebrated  rages. 
After  knocking  over  two  spotlights,  she 
dropped  in  a  faint  and  the  interview  was  ended. 
Mr.  Zander  retired,  a  bit  pale  about  the  gills, 
and  extra  men  carried  the  limp  Rosa  from  the 
scene. 

rr  was  a  feverish  morning  in  the  Fairfame 
Studio.  Towards  noon,  Fanny  Fay  walked 
into  the  cafeteria,  looking  pinched  and  wan. 
Mrs.  Quinn  patted  her  shoulder  and  shed  a  few 
tears. 

"Today's  the  day,-'  Fanny  said  unhappily. 
"Homer  has  his  operation  at  one  o'clock." 

"What  operation?"  asked  Mother  Quinn. 

"On  his  eye.  He's  having  it  straightened. 
That  ends  him  in  comedies.  And  it  ends  me, 
too." 

"Merciful  heavens!"  said  the  gray  old  lady 
who  had  brought  them  up.  "His  cock  eye  is 
all  he's  got." 

"No,"  returned  Fanny  mournfully.  "He's 
going  to  be  a  Valentino.  He's  to  play  leads 
.  with  Posdrovna.    I  wish  she  was  dead." 

Fanny  said  it  earnestly.  She  drank  her 
coffee  and  returned  to  the  studio.  There  were 
,  pink  memorandums  on  her  desk,  notifying  her 
'  that,  for  the  present,  Red  Bird  Comedies  would 
i  be  discontinued,  and  that  as  a  consequence  the 
;  company  was  forced  to  retire  her  from  the  pay- 
roll— temporarily,  it  hoped. 

Mrs.  Quinn  busied  herself  with  the  frank- 
furters and  sauerkraut,  but  her  mind  rambled 
afield  uneasily.  She  poked  a  ladle  into  the 
baked  beans  and  arranged  the  dill  pickles  in 
neat  rows,  but  her  thoughts  were  elsewhere. 
Homer  and  Fanny  were  the  apples  of  her  eye, 
so  to  speak.  She  had  builded  them  up  with 
discreet  foods  and  gloried  in  their  rise.  They 
had  fallen  in  love  with  each  other,  which  was 
right,  and  now  the  whole  structure  was 
tumbling  down  about  her  head.  She  cried  a 
little,  good  soul,  over  the  tomato  soup. 

Appetite  Johnny  strayed  into  this  melan- 
choly scene,  with  the  room  still  vacant,  and 
began  his  usual  gentlemanly  negotiations  for  a 
bowl  of  fodder,  with  coffee  and  sinkers.  He 
pawed  at  his  whiskers,  moved  his  oscillating 
eyebrows,  and  observed  the  distress  of  his  bene- 
factor. Mrs.  Quinn  began  automatically  to 
put  food  for  him  into  a  dish. 

"You  have  trouble?"  Johnny  inquired 
gently. 

"I  got  a  lot  of  trouble." 

"I  am  sorry,"  he  said.  "You  are  my  friend. 
I  would  that  I  could  help  you." 

"You  can,"  grumbled  Mrs.  Quinn.  "Go 
across  the  street  and  poison  that  Posdrovna." 

"Oh,"  smiled  Johnny  of  the  Appetite.  "She 
.  .  .  She  is  your  trouble.  That  is  not  astonish- 
ing.   She  is  the  trouble  of  all  mankind." 

He  slowly  stirred  the  mixture  before  him. 

"What  do  you  know  about  her?" 

"Quite  a  great  deal,"  Johnny  answered. 
"She  is  my  wife." 

"Your — your  what?"  Mrs.  Quinn's  voice 
quavered.  She  knocked  over  a  small  tower  of 
biscuits  and  they  rolled  about  her  feet. 

"My  wife.    We  were  married,  many  years 


ago,  in  Vienna.  I  am  her  castoff.  When  she 
became  a  genius,  I  was  dismissed.  She  has  had 
live  other  husbands,  but  not  legal,  because  the 
church  does  not  permit  divorce.  One  of  them 
died.  The  others  wished  they  had.  Not  often 
do  I  discuss  this.  And  her  name  is  not 
Posdrovna." 

"Good  grief!"  said  Mother. 

She  stared  at  Johnny's  gently  moving  eye- 
brows.   He  continued  to  eat. 

"Now  and  then  she  gives  me  money.  Not 
often.  Surely,  one's  old  husband  is  deserving 
a  few  dollars.  I  shall  pay  you  for  this  food  in  a 
few  days." 

"So  you  come  from  Vienna,"  said  his 
hostess.  "And  you're  her  husband.  Good 
grief!" 

"  I  do  not  often  talk.  But  you  are  my  friend, 
and  you  are  in  trouble.  If  I  can  do  anything — " 

"You've  done  plenty,"  cried  Mrs.  Quinn, 
suddenly  moving  into  action.  "  Stay  here  till  I 
come  back.  Eat  your  lunch  and  stay  right 
where  you  are." 

Johnny  looked  up,  mildly  surprised,  but 
Mother  Quinn  was  on  her  way  through  the 
door.  Two  minutes  later,  she  burst  in  upon 
Fanny  Fay,  who  was  packing  hats  into  a  trunk. 

"Come  on,"  shouted  Mother  Quinn.  "Drop 
that.  Get  Charley  Zander.  Get  an  auto- 
mobile. We  may  be  in  time  to  save  that  damn 
fool." 

"What  damn  fool?"  asked  Fanny,  startled. 

"Homer  Giffen.  If  he  ain't  lost  his  eye,  we 
may  be  in  time  to  keep  it  in  his  head.  Come 
on.    Hurry!" 

"What  is  it,  Mother?" 

"I've  got  her  husband  across  the  street 
eating  gruel.  Nobody  knew  she  had  one,  and 
she's  got  six.  She's  been  kidding  him.  Wait 
till  he  hears  about  the  five  other  husbands.  A 
fine  sweetheart.  The  darned  chump.  Come 
on,  will  you?" 

FANNY  stared  in  bewilderment,  but  Mrs. 
Quinn  took  her  by  the  arm  and  they  passed 
rapidly  down  the  corridor  towards  Charley 
Zander's  office.  Mr.  Zander  was  at  his  desk 
when  Mrs.  Quinn  burst  in  upon  him,  defying 
office  boys.  She  poured  a  torrent  of  words. 
Charley  grabbed  his  hat  and  the  three  of  them 
hurried  out  and  stepped  into  a  company  car. 
Mother  Quinn  paused  at  the  door  of  her  eating 
place,  collared  the  astonished  Johnny  and 
dragged  him  into  the  seat  beside  Charley 
Zander.  The  car  started  for  the  Sisters' 
Hospital. 

Mrs.  Quinn  talked  and  urged  Johnny  to  talk. 
Charley  Zander  listened,  while  the  car  bounced 
rapidly  onward.  On  the  front  seat,  Fanny  Fay 
prayed  for  the  first  time  in  years.  Mrs.  Quinn 
wrung  her  hands  and  called  on  the  patron 
saints  to  step  in  and  use  their  influence.  If  the 
doctor  and  his  knives  had  beaten  them,  all  was 
lost.  Homer  Giffen  would  be  a  comedian  of 
a  past  era,  his  one  gift  gone  forever. 

A  little  parade  dashed  up  the  steps  of  the 
gray  hospital.  There  was  a  violent  conference 
with  nurses  and  an  attempt  to  halt  this  unusual 
interruption  to  the  orderly  calm  of  the  institu- 
tion. Charley  Zander  brushed  by,  and  his 
retinue  followed.  They  ran  down  a  long  hall- 
way, pounded  upon  a  door  and  it  opened 
slowly. 

The  sight  that  greeted  them  was  a  small 
group  of  surgeons,  an  operating  table,  instru- 
ments, nurses,  and  Homer  Giffen,  smoking  a 
cigarette  at  a  window.  He  turned  and  stared 
at  the  little  group  in  angry  astonishment,  but 
he  stared  with  only  one  eye.  The  other — the 
right  eye — turned  in,  as  usual. 

"Glory  be,"  muttered  Mother  Quinn. 

"What  is  the  meaning  of  this?"  Homer 
asked. 

"It  means  we're  in  time  to  save  you." 
responded  Zander. 

The  surgeons  were  obviously  annoyed. 

"You  will  oblige,"  one  of  them  said,  "by 
explaining  a  call  at  the  moment  of  a  rather 
serious  operation." 

"Sure,  I'll  explain,"  snapped  Zander. 
"We're  here  to  stop  the  fool  thing.  And  we 
just  got  here  in  time,  too." 


Earle  E.  Liederman 
as  he  is  today 

Call  the  Undertaker! 

What's  the  use  of  living  when  you're 
only  half  alive?  You  get  up  in  the  morn- 
ing and  you  don't  have  the  pep  of  a  jelly 
fish.  Your  work  is  a  burden  and  life  has 
ceased  to  give  you  a  thrill.  You  don't 
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fellows?  Call  the  Undertaker,  for  you're 
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to  change  those  skinny  arms  and  legs  of  vours  to  a 
real  man's  size.  You  will  have  the  strength  and  vital- 
ity to  do  things  you  never  thought  possible.  Come 
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"Well,"  interrupted  Homer  GifTen,  "I'll  he 
eternally  damned  if  I  ever  heard  of  such  im- 
pertinence. Bursting  into  a  hospital  is  new 
Stuff.  I  told  you  I  was  going  to  have  this  done, 
and  it's  my  affair." 

"Yes,"  shouted  Charley,  ''yours  and  Pos- 
<  1 10  vna's." 

"Certainly,"  yelled  Homer.    "What  of  it?" 

"Whom  you're  going  to  marry,  Liter  on." 

"I'm  not  talking  about  that,"  grunted 
Homer,  his  face  a  dull,  angry  red. 

"You  better  talk  about  it.  you  simpleton. 
Meet  Tosdrovna's  husband." 

Charley  reached  for  the  open-mouthed 
Johnny  Appetite  and  pushed  him  into  the 
group.  Johnny  held  the  end  of  his  beard  and 
stood  before  Mr.  Giffen.  It  was  a  morning  of 
surprises  to  John.  If  they  had  started  in  to  cut 
off  his  leg,  it  would  not  have  amazed  him. 
\  lomer  glared  at  Johnny,  who  was  known  to  him 
as  a  dub  of  an  extra,  useful  when  whiskers  were 
needed.  Scorn  was  in  Homer's  eye — his  good 
eye. 

"Husband!"  he  snorted.  "What's  the  joke? 
Rosa  Posdrovna's  a  single  woman." 

"Single  hell,"  replied  Charley.  "All  she's 
had  in  the  way  of  husbands  is  Johnny,  and  four 
or  five  others.  You'll  be  about  six — and  a  left- 
handed  one,  at  that." 

"It's  a  dirty  lie." 

"No,"  said  Johnny,  faintly  comprehending 
the  rookus,  "it  is  the  truth.  Why  should  I  lie? 
Po  drovna  gives  me  money.  I  am  like  her  old 
shoe,  but  I  am  her  husband  these  many  years. 
If  you  doubt  me,  ask  her." 

Homer  turned  furiously  upon  Zander. 

"Didn't  the  company  advertise  her  as  a 
young  girl  from  the  Balkans?"  he  roared. 

"Sure,"  replied  the  G.  M.  "Advertising. 
Bunk.  You  think  we're  going  to  print  a  list  of 
her  husbands?" 

"And  she  was  going  to  marry  me,"  \ lomer 
muttered. 

"She  was  going  to  kid  you,"  said  Charley. 
"You're  easy  to  kid,  I'll  say.  You  pretty 
nearly  tossed  away  a  career.  Get  down  on 
your  knees  and  thank  Mother  Quinn." 

"No,  no,"  said  Mother.  "Thank  Fanny, 
She's  the  one." 

Johnny  Appetite  moved  to  one  side  and 
leaned  against  the  wall,  feeling  important  for 
the  first  time  in  his  life.  He  was  a  central 
figure  in  something.  Mr.  Zander  talked  to 
him,  which  was  an  event  in  the  life  of  an  extra 
man. 

Homer  paced  to  and  fro  in  the  sunlight  and 
thought  rapidly.  He  was  turning  Rosa  over  and 
over  in  his  mind.  Sweetness  within  him  was 
turning  rapidly  to  gall  and  wormwood.  He 
grunted  and  then  swore  bitterly.  He  suddenly 
commanded  the  surgeons  to  pack  their  tools  and 
be  gone.  They  did  so,  looking  more  indignant 
than  ever. 

"I'm  going  to  see  her,"  said  Homer  coldly. 
"  I've  got  plenty  to  say." 

"It  won't  do  any  good,"  responded  the 
studio  boss.  "You'll  only  make  people  laugh 
harder.  Keep  your  face  shut.  Forget  it  and 
go  back  to  work." 

Homer  looked  into  the  granite  countenance 
of  the  man  who  has  more  trouble  than  anybody 
in  Hollywood. 

"Are  you  going  to  go  on  making  Red  Birds?  " 
he  asked. 

"What  do  you  think  I'm  here  for?" 

Homer  breathed  hard  and  turned  his  good 
eye  toward  a  window. 

"Gee,"  he  said.  "That  was  a  shave.  I  must 
be  a  sap." 

"You  are,"  said  Charley.  "That's  why 
you're  good." 

THE  party  presently  dissolved.  Zander  de- 
parted, taking  Mother  Quinn  and  the 
cheerful  Mr.  Appetite,  formerly  of  Vienna. 
Fanny  Fay  remained  in  the  room,  and  Homer 
went  to  her  with  a  shamefaced  grin. 

"Say,  kid,"  he  said,  "  will  you  forgive  me  and 
take  me  back?" 

"As  Charley  said,"  smiled  Fanny,  "that's 
what  I'm  here  for." 

Fadeout,  and  a  short  fadein  for  the  tag. 


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Ethel  Clayton,  Photoplay  Star,  on*  of  the  many  famous 
American  Beauties  who  know  the  value  of  "MA  YBELLINET 

Adds  Wonderful  Charm,  Beauty 
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More  than  all  else,  well  defined  eyebrows  and  luxuriant  lashes 
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Used  regularly  by  beautiful  girls! 
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DEAFNESS       IS      MISERY 

I  know  because  I'was  Dea(  and  had  Head  Noises 

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The  same  afternoon  Charley  Zander  wired 
New  York,  that  Red  Birds  would  be  resumed, 
starting  immediately.  The  next  morning, 
Homer  GilTen.  in  his  ridiculous  costume,  strode 
by  the  set  of  Rosa  Posdrovna — a  huge  temple, 
with  Olympian  guards.  Rosa  was  on  the 
scene. 

"Oh!  Homaire!"  she  cried,  "I  have  not  seen 
you!" 

"\ou  see  me  now,  you  Swiss  cheese.  If  you 
ever  speak  to  me  again,  I'll  knock  your  block 
off.    Tell  that  to  your  six  husbands." 

Homer  passed  on   without   another   word, 
leaving    Rosa    petrified.      Nobody    had    ever 
before  called  her  a  cheese,  Swiss  or  otherwise 
Presently,  she  burst  into  peals  of  laughter  am 
returned  to  her  Olympians. 

"Oh,  my  God,"  she  shrieked,  "now  I  have 
no  monkey  to  amuse  me." 

The  incident  was  ended. 

At  noon,  the  usual  file  of  troopers  banged 
into  Mother  Quinn's  and  found  her  smiling 
widely.  Homer  Giffen  and  Fanny  Fay,  fresh 
from  an  enthusiastic  interview  with  Director 
Jim  about  the  new  Red  Bird,  strolled  through 
the  crowd  and  sat  at  their  old  table.  The  sun- 
light bathed  them  as  they  took  their  seats.  A 
miracle  had  taken  place.  Fanny  Fay  actually 
seemed  to  have  taken  on  flesh  overnight.  A 
pleasant  pink  was  in  her  cheeks  and  they 
seemed  to  have  bulged  a  bit.  Her  eyes  were 
bright  and  she  was  laughing.  Homer  was  in 
fine  fettle  and  Mother  Quinn  approached  her 
chickens.     "Well,  kids,  what'll  it  be?' 

Fanny  looked  up  with  a  hungry  glint  in  her 
eye. 

"I'll  take  beefsteak  and  onions,"  she  said 
cheerfully,  "and  make  it  an  extra  large  shot." 

Mother  Quinn  heaved  a  happy  sigh. 

"  Gimme  the  same  thing,"  Homer  said.  The 
gray-haired  mistress  of  food  hurried  off  to  the 
kitchen,  to  prepare  the  dish  with  her  own 
skilled  hands,  and  Homer  took  up  conversa- 
tion with  his  partner. 

"Now,  Fan,"  he  said  seriously,  "about  that 
place  out  on  Sunset — " 


11 


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Speaking  of  Pictures 

[  CONTINUED  FROM  PAGE  35  ] 

acumen  necessary  for  independent  production. 
Thus  the  fate  of  Charles  Ray,  the  finest  of 
them  all  in  my  opinion,  hangs  in  the  balance. 
Xazimova,  a  superb  actress,  has  failed  as  a 
producer.  And  Rodolph  Valentino  has  not  yet 
demonstrated  such  ability. 

A  POPULAR  star  asked  her  husband  why  he 
-*Vlidn't  invite  gentlemen  to  play  poker  with 
him  instead  of  uncouth  cronies. 

"  Because,  my  dear,"  he  replied,  "gentlemen 
couldn't  afford  to." 

T_T  O.  DAVIS  is  now  at  the  helm  of  Cosmo- 
■*■  -*-•  politan  Productions  as  general  manager. 
Photoplay  looks  for  great  things  from  the 
former  head  of  the  production  activities  of 
Universal  and  Triangle.  Working  under  diffi- 
culties, harassed  by  faulty  established  stand- 
ards, and  petty  jealousies,  he  introduced  into 
the  manufacture  of  motion  pictures  innova- 
tions of  efficiency  that  to  smaller  minds 
seemed  visionary  and  impracticable.  He 
always  insisted  that  the  story  was  paramount 
to  everything  else,  and  some  of  the  pictures 
produced  under  his  supervision  in  those  com- 
panies will  always  be  remembered  as  photo 
dramatic  gems  that  outshone  the  more  pre- 
tentious pictures  of  the  day. 

"V'OU  can't  keep  a  good  picture  down. 
■*■  Mae  Tinee,  the  delightful  lady  who  tells 
the  readers  of  a  great  Chicago  newspaper 
what's  what  in  the  current  screen  attractions 
of  that  city,  did  not  like  "The  Covered 
Wagon,"  and  stood  right  up  in  meeting  and 
said  so.  Her  criticism  retarded  the  onward 
march  of  the  picture  in  her  city  for  awhile, 
but  in  a  week  or  so  every  seat  was  occupied 
day  after  day. 


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No  Telltale 


A  French  scientist  has  found  the  natural  way  to 
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the  dark  and  sunken  tissues  and  for  bringing  back 
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Gossip — East  &?  West 

[  CONTINUED  FROM  PAGE  102  ] 

\J[ V,  my,  but  it  dots  seem  like  old  times  to 
■^*-*-jro  over  on  the  Pickford  set  and  see  Mar- 
shall Neilarj  directing  Mary.  Mickey  and  his 
wife.  Blanche  Sweet,  have  been  spending  many 
evenings  with  Mary  and  Doug  at  Pickfair, 
working  out  the  production.  Ethel  Barry- 
more,  who  closed  her  vaudeville  tour  in  Los 
Angeles,  has  also  been  the  house  guest  of  Mr. 
and  Mrs.  Fairbanks  for  several  weeks.  And 
now  that  Jack  Barrymore  has  arrived,  he  is 
also  much  in  evidence  at  the  home  of  Doug 
and  Mary. 

BLANCHE  SWEET  is  to  play  the  lead  in 
Allen  Holubar's  new  picture,  "The  Human 
Mill." 

"And  I'm  going  to  do  it  for  just  one  reason," 
said  Miss  Sweet,  who  had  just  finished  the 
terribly  difficult  role  of  Anna  Christie  "because 
I  want  to  ride  to  the  rescue  at  the  end.  All  my 
picture  career  I've  wanted  to  ride  to  the  rescue 
and  I've  never  had  a  chance.  In  this,  the 
heroine  has  to  ride  miles,  ford  rivers  and 
everything,  to  bring  back  the  United  States 
Cavalry  in  time  to  save — well,  I  won't  tell  you 
what.    But  I  wanted  to  do  it." 

In  the  meantime,  Blanche  is  spending  most 
of  her  days  riding,  with  Connie  Talma  dge,  to 
get  in  trim  for  the  great  finish. 

TENNIS  has  hit  the  motion  picture  colony 
with  a  bang.  And  Florence  Vidor  has  just 
won  the  silver  cup,  first  prize,  in  a  tennis 
tournament  held  on  Priscilla  Dean's  courts. 

The  entrants  for  the  ladies'  singles  in  this 
tournament  included  Priscilla  Dean,  Enid 
Bennett,  Katherine  Bennett,  May  Allison, 
Florence  Vidor  and  Mrs.  Douglas  MacLean. 
Among  the  men  who  made  up  the  mixed  dou- 
bles were  Fred  Niblo,  Wheeler  Oakman,  Bob 
Ellis,  Jack  McDermott  and  Douglas  MacLean. 
The  mixed  doubles  were  won  by  Florence 
Yidor  and  Wheeler  Oakman,  in  a  hard  fought 
set  against  Priscilla  Dean  and  Fred  Niblo. 

IT'S  almost  impossible  to  entertain  at  lunch- 
eon in  Hollywood.  Most  of  the  women  work 
so  hard  that  the  luncheon  hour  is  merely  a 
brief  respite  at  the  studio.  But  May  Allison 
did  manage  a  delightful  luncheon  party  for 
Mrs.  Dick  Rowland,  wife  of  the  vice-president 
of  First  National,  when  she  was  visiting  in 
Hollywood  recently.  May  invited  everyone 
down  to  the  Swimming  Club,  and  the  table  was 
bright  with  many  colored  balloons  and  favors. 
The  guests  included  Norma  Talmadge,  Eileen 
Percy,  Priscilla  Dean,  Blanche  Sweet,  Bessie 
Love,  Ethel  Clayton,  Florence  Vidor,  Enid 
Bennett,  and  Mrs.  M.  C.  Levee,  besides  the 
hostess  and  guest  of  honor. 

LAURENCE  TRIMBLE  has  just  hired  two 
famous  Holland  Dutch  kindergarten  teach- 
ers. After  holding  classes  for  kindergarten 
teachers  in  many  large  cities  in  America,  these 
Dutch  educators  were  preparing  to  return  to 
Holland  where  their  father  is  an  important 
member  of  Queen  Wilhelmina's  government, 
when  Mr.  Trimble  persuaded  them  to  stay  in 
Hollywood  and  instruct  twelve  police  dog  pup- 
pies,  the   children  of  "Strongheart." 

Now,  every  morning,  on  Mr.  Trimble's  big 
ranch,  the  twelve  little  Stronghearts  may  be 
seen  having  their  three  hour  morning  instruc- 
tion in  deportment  and  field  work. 

MARJORIE  RAMBEAU,  who  has  been 
playing  a  season  of  summer  stock  in  "The 
Goldfish"  and  also  trying  out  several  new 
plays  for  New  York,  is  the  idol  of  the  Holly- 
wood screen  stars.  It  must  be  rather  flattering 
to  find  your  adoring  matinee  girls  include  most 
of  the  celebrities  of  the  screen.  Norma  Tal- 
madge, Florence  Vidor,  Mabel  Normand. 
Leatrice  Joy,  Bebe  Daniels,  and  dozens  of 
others  flock  to  see  her  several  times  in  the 
same  play. 


REDUCE 


Thousands  of  stout  persons  have  testified  to  the 
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we  feel  perfectly  safe  in  urging  every  stout 
person,  man  or  woman  to  try 

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Whether  you  have  lOor  100  pounds  of  superfluous 
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and  permanently.  It  is  endorsed  by  physicians 
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days  you  can  feel  yourself  grow  thin. 
DAINTY-FORM  will  be  sent  direct  to  your 
home  in  plain  wrapper  upon  receipt  of  $2.00  the 
jar  or  $3.50  for  the  double  size. 

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SAGE  TEA  TURNS 
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Gray  hair,  however  handsome,  denotes 
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its   appearance   a   hundred-fold. 

Don't  stay  gray!  Look  young!  Either 
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By  morning  the  gray  hair  disappears; 
after  another  application  or  two,  its 
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Photoplay  Magazine — Advertising  Section 


MAY  McAVOY  has  been  signed  up  by 
Inspiration  Pictures — and  those  friends  of 
the  wide-eyed  little  star  who  have  been  sympa- 
thizing with  her  because  of  poor  stories  and  not 
very  good  direction,  are  giving  sighs  of  relief. 
For  May's  first  picture  will  be  "The  Enchanted 
Cottage"  and  she  will  be  Richard  Barthelmess' 
leading  lady.  And  the  director,  John  S. 
Robertson,  is  the  same  who  made  "Sentimen- 
tal Tommy" — which  first  brought  Miss 
McAvoy,  as  Grisel,  to  the  attention  of  the 
public. 

"The  Enchanted  Cottage"  is  a  fantastic 
thing — with  Barriesque  touches.  Whimsical 
and  moving,  delicate  and  appealing.  It  will  be 
a  real  chance  for  the  dainty,  lovable  little  girl. 

THERE  was  quite  a  gang  down  to  meet 
Barbara  La  Marr  when  she  stepped  off  the 
train  from  New  York  on  her  return  to  Holly- 
wood. But  Barbara  didn't  see  anybody  but 
young  Malvin  La  Marr,  her  adopted  son.  She 
has  been  gone  some  months,  and  she  and  the 
youngster  had  a  great  reunion  on  the  station 
platform.  It  was  something  of  a  shock  to  find 
that  "Bobby"  had  cut  off  her  beautiful,  long 
black  hair.  It  was  sacrificed  to  the  cause  of 
art  in  "The  Eternal  City,"  which  she  went  to 
Rome  with  George  Fitzmaurice  to  make. 

SHIRLEY  MASON,  whose  husband,  Bernard 
Durning,  died  recently  in  New  York,  has  re- 
turned to  Hollywood  and  is  making  her  home 
at  present  with  her  sister,  Viola  Dana.  As  soon 
as  she  had  sufficiently  recovered,  Shirley  went 
back  to  work,  declaring  that  hard  work  was 
the  only  panacea  she  knew  for  her  grief. 

JAMES  CRUZE,  not  being  content  with  mak- 
ing the  best  pictures  of  the  year,  has  entered 
;i  new  field.  He  is  heading  a  syndicate  that 
plans  to  build  a  million  dollar  theater  on  the 
coast  that  will  house  the  latest  and  best  legiti- 
mate productions.  The  theater  will  be  modeled 
after  the  pattern  of  an  ancient  Aztec  temple, 
and  will  have  a  huge  disappearing  stage. 

While  Mr.  Cruze  will  head  the  syndicate  that 
will  build  the  theater,  and  though  he  proposes 
to  own  the  controlling  interest  in  the  venture, 
he  says  that  he  is  not  going  to  allow  the  ven- 
ture to  steal  any  of  his  time  away  from  the  sil- 
ver sheet.  It  will  be  only  a  hobby — something 
to  fill  his  leisure  moments.  We  didn't  know 
that  the  busy  director  had  any  leisure  mo- 
ments! 

A  DOUBLE  come-back,  this  time.    Pauline 
Frederick  and  Lou  Tellegen  will  return 
simultaneously  in  Vitagraph's  picturization  of 


Basil  King's  "Let  Not  Man  Tut  Asunder." 
Although  the  author  is  a  minister,  we're  told 
that  the  picture  will  be  a  very  pash  affair — 
with  much  emotional  acting  from  both  stars. 
Miss  Frederick  returns  after  the  absence  of 
over  a  year;  Lou  has  been  away  even  longer. 

npIFERE  seems  to  be  no  question  that  Cecil 
-*•  De  Mille  actually  believes  that  he  was  in- 
spired when  it  came  to  making  certain  por- 
tions of  "The  Ten  Commandments."  In  the 
filming  of  "The  Exodus"  a  number  of  "im- 
possible" things  were  accomplished,  and  Jeanie 
MacPherson  found  parts  of  the  modern  story 
already  complete  in  her  mind  without  any 
effort  or  thought  on  her  part. 
Well,  it's  an  inspiring  theme. 

VWTIILE  "Born  of  the  Cyclone"— a  Film 
W  Booking  production — was  being  filmed, 
director  Emile  Chautard  was  hard  pressed  to 
get  a  certain  light  effect.  He  wanted  to  show 
that  weird,  dim,  half  twilight  that  is  character- 
istic to  the  Kansas  cyclone  territory,  just  be 
fore  the  approach  of  one  of  their  terrifying 
storms.  For  many  days  he  kept  his  com- 
pany until  six  o'clock — but  the  moment  wasn't 
just  right — somehow.  And  then,  as  if  to  suit 
the  director's  convenience,  along  came  the 
tenth  of  September.  Bringing  with  it  the 
sun's  eclipse — and,  incidentally,  the  exact  light 
that  M.  Chautard  had  been  trying  so  very  hard 
to  capture. 

Owing  to  the  fact  that  the  darkness  was  con- 
tinually changing  and  varying  in  intensity,  the 
director  had  to  work  quickly.  But  two  scenes 
were  taken — one  as  the  eclipse  was  coming  on. 
and  one  as  it  was  passing  off.  Each  time  the 
sky  color  was  the  same  shade. 

pOLA  NEGRI  has  gone  in  for  Hollywood 
*-  real  estate.  She  recently  purchased  a  corner 
on  Hollywood  boulevard  valued  at  over  a  hun- 
dred thousand.  Incidentally,  Pola  is  one  of  the 
wealthy  women  of  pictures.  She  owns  large 
estates  in  Poland  and  is  buying  a  chateau  on 
the  French  Riviera. 

HELENE  CHADWICK  has  just  been 
granted  a  divorce  from  Billy  Wellman. 
The  fact  that  each  had  a  career  seemed  to  be 
the  stumbling  block  upon  which  their  matri- 
monial bark  was  wrecked.  By  the  way,  the 
decree  brought  forth  the  fact  that  this  was 
Helene's  second  venture.  Before  coining  to 
Hollywood,  she  had  been  married  to  some 
young  man  in  her  eastern  home  town.  Upon 
seeing  the  news  of  her  second  divorce,  I  lusband 
No.  i  remarked,  "Helene ought  to  bespanked." 


Statement  of  Ownership,  Management,  Circulation,  etc.,  Required  by 
the  Act  of  Congress  of  August  24,  1912, 

of  Photoplay  Magazine  Published  monthly  at  Chicago,  Illinois,  for  October  1,  1923 


State  of  Illinois  >.„ 
County  of  Cook  f""' 

Before  me,  a  Notary  Publie  in  ami  for  the  Stale  anil  county  aforesaid,  personally  appeared  Kathyrn  Dougherty, 
who,  having  been  duly  sworn  according  to  law,  deposes  and  says  that  she  is  the  business  manager  of  the  Photoplay 
Magazine,  and  that  the  following  is,  to  the  best  of  her  knowledge  and  belief,  a  true  statement  of  the  ownership,  man- 
agement (and  if  a  daily  paper,  the  circulation),  etc.,  of  the  aforesaid  publication  for  the  date  shown  in  the  above 
eaption.  required  by  the  Act  of  August  24,  1912,  embodied  in  section  443,  Postal  Laws  and  Regulations,  printed  on 
the  reverse  of  this  form,  to  wit:  1.  That  the  names  and  addresses  of  the  publisher,  editor,  managing  editor,  and  busi- 
ness managers  are:  Publisher,  Photoplay  Publishing  Co.,  750  N.  Michigan  Ave.,  Chicago,  111.  Editor,  James  K. 
Quirk,  750  N.  Michigan  Ave..  Chicago,  III.  Managing  Editor,  Frank  T.  Pope,  221  West  57th  Street,  New  York  City. 
Business  Manager,  Kathyrn  Dougherty,  750  N.  Michigan  Ave.,  Chicago,  III.  2.  That  the  owners  are:  (Ciive  names 
and  addresses  of  individual  owners,  or,  if  a  corporation,  give  its  name  and  the  names  and  addresses  of  stockholders 
owning  or  holding  1  per  cent  or  more  of  the  total  amount  of  stock.)  E.  M.  Colvin,  Chicago,  111.;  R.  M.  Eastman, 
Chicago,  111.;  J.  R.  Quirk,  Chicago,  III.;  J.  Hodgkins,  Chicago,  111.;  Wilbert  Shallenberger,  Waterloo,  Iowa:  Photoplay 
Publishing  Co.,  Chicago,  III.  3.  That  the  known  bondholders,  mortgagees,  and  other  security  holders  owning  or 
holding  1  per  cent  or  more  of  the  total  amount  of  bonds,  mortgages,  or  other  security  holders  owning  or  holding  i  per 
cent  or  more  of  total  amount  of  bonds,  mortgages,  or  other  securities  are:  (If  there  are  none,  so  state.)  None.  4. 
That  the  two  paragraphs  next  above,  giving  the  names  of  the  owners,  stockholders,  and  security  holders,  if  any,  contain 
not  only  the  list  of  stockholders  and  security  holders  as  they  appear  upon  the  books  of  the  company  but  also,  in  cases 
where  the  stockholders  or  security  holder  appears  upon  the  books  of  the  company  as  trustee  or  in  any  other  fiduciary 
relation,  the  name  of  the  person  or  corporation  for  whom  such  trustee  is  acting,  is  given;  also  that  the  said  two  para- 
graphs contain  statements  embracing  affiant's  full  knowledge  and  belief  as  to  the  circumstances  and  conditions  under 
which  stockholders  and  security  holders  who  do  not  appear  upon  the  books  of  the  company  as  trustees,  hold  stock  and 
securities  in  a  capacity  other  than  that  of  a  bona  fide  owner;  and  this  affiant  has  no  reason  to  believe  that  any  other 
person,  association,  or  corporation  has  any  interest  direct  or  indirect  in  the  said  stock,  bonds,  or  other  securities  than 
as  so  stated  by  her.  5.  That  the  average  number  of  copies  of  each  issue  of  this  publication  sold  or  distributed,  through 
the  mails  or  otherwise,  to  paid  subscribers  during  (he  six  iuoiiUls  preceding  the  date  shown  above  is  .  .  .  . 
(This  information  is  required  from  daily  publications  only.) 

KATHYRN   DOUGHERTY, 

Business  Manager. 

Sworn  to  and  subscribed  before  me  this  15th  day  of  October,  1023. 
[SEAL]  M.   EVELYN   MrEVTLLY. 

(My  commission  expires  January  3,  1927.) 


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Photoplay  Magazine — Advertising  Section 
3" 


'•'-^rt^^frfra-p 


DEFINITION 

The  practice  of  Chiropractic 
consists  of  the  palpation 
and  adjustment, with  the  hands, 
of  the  movable  segments  of  the 
spinal  column  to  normal  posi- 
tion for  the  purpose  of  releas- 
ing the  prisoned  impulse. 


By  Merit  A  lone, 
Chiropractic 


has  grown  from  an  idea  in  the  mind  of 
one  man  in  1905,  to  the  second  largest 
health  profession  in  the  world. 

There  are  now  approximately  25,000  prac- 
titioners, more  than  a  hundred  schools  and 
about  15,000  students. 

Twenty-six  state  governments  have  recog- 
nized the  science  as  distinct  and  different  from 
anything  else  on  earth. 

In  less  than  eighteen  years,  this  growth  has 
been  effected,  not  only  without  the  aid  of  other 
professions  engaged  in  getting  the  sick  well,  but 
in  spite  of  their  utmost  efforts  to  prevent  it. 

Chiropractic  has  never  had  a  single  dollar  of 
endowment  from  state  or  national  govern- 
ments. It  has  overcome  the  prejudice  of  the 
public,  the  opposition  of  other  professions  in- 
tent on  its  extermination,  and  adverse  laws  in 
every  state  in  the  Union. 

It  has  recruited  its  patients  from  among 
those  upon  whom  other  methods  failed,  and 
with  these  failures  of  other  methods  upon 
which  to  prove  its  efficiency,  it  has  made  the 
most  phenomenal  growth  of  any  health  profes- 
sion in  the  history  of  the  world. 

Employ  none  but  a  competent  chiropractor. 


^2>^*- 


Writefor  information  regarding  Chiropractors  or  Schools  to  the 

Universal  Chiropractors'  Association,  Davenport,  Iowa,  U.  S.  A. 


All  Rights  Reserved 


gi^||^M5^1^^5MIgl^^^^^^^^^S 


Every  advertisement  iu  PHOTOI'LAY  MAGAZINE  is  guaranteed. 


The  set  you  start  today  can  grow 
through  the  years  to  come. 
Added  pieces  always  match. 


The  ideal  gift  of  Pyralin  toiletware  is  a 
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the  name*stamp  means 
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in  wearing  quality,  but  at  the  sacrifice 
of  fine  texture  and  sheerness. 


If  you  are  interested  in  getting  hosiery 
that  will  give  extraordinary  wear  and 
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